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91 Cards in this Set
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Typical Doric Temple Plan Archaic Period (600 - 480 BC) Rooms: - Cella ("house/room") - main room where cult statue's housed - Pronaos (porch) - where one would enter, always faces East (rising sun), altar for sacrifice outside - Opisthodomos (back room) - treasury, where valuable dedications are kept - Anta - bumps at each corner |
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Three Architectural Orders Archaic Period (600 - 480 BC) Doric: - most plain - columns rest on stylobate without bases - capital - simple, plain - frieze - block above architrave, alternative triglyphs and metopes, must end on triglyph - triglyphs - three cuts, upright members, must be either over centre of column or centre over space between columns (contradictory rules) - metope - blank - pediment - triangular area on roof - reflections of wooden architecture - representation of transition into stone carpentry? Ionic: - little more decorative - stylobate - more visually appealing - columns rest on decorate base on top of stylobate - capital - volutes (two big curls on either side) - frieze - one long continuous block Corinthian: - more decorative - capitals - more elaborate, 360 viewing Column Formula: - (x) by (2x +1) - rule all temples must follow - no room for error - no artistic freedom Ingrained in Greek mindset: - geometry, symmetry, mathematical (ratios, numbers) |
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Temple of Artemis Plan Archaic Period (600 - 480 BC) Corcya (Corfu), Corinth, Mainland Greece Features: - Doric - usual style found in Corinth at the time - Pseudo-Dipteral Style ("fake wing/hallway") - area surround inner room so wide, another row of columns could've been placed in it, but wasn't - Octus-Style - eight columns along front (façade) - columns - 8 x 17 (follows formula) - intercolumniation - length between centre of one column to centre of next column - column height makes them look short/stocky |
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Temple of Artemis Sculpture Archaic Period (600 - 480 BC) Corcya (Corfu), Corinth, Mainland Greece Features: - symmetrical - Greeks vs. Barbarians - common theme Allegory: - real people aren't depicted until centuries later - avoid hubris - pride that will get you in trouble - meant to be timeless/eternal (if one puts real person on it, it becomes locked in time to specific event/person) - celebrate historical events (instead of depicting victory of Greeks over Persians, depict Greeks winning over "Barbarians") - metaphors for conquest of barbarism by civilized world of Greek deities/heroes Corners: - prostrate dead/dying figures Right: - Gigantomachy (Zeus vs. giant) - Zeus - holds lightning bolt Left: - Trojanomachy - King Priam - seated figure backed by wall (Trojan wall?) stretches out imploring hand to lost figure whose spear threatens his throat Middle: - figures - gorgon (Medusa), Pegasus, Chrysaor - myth - Medusa gets beheaded and from her blood (at moment of death) is born her two children Pegasus and Chrysaor - indicated Medusa's in process of dying - since her offspring are already born - kneeling - indicates running - Daedalic Style - big nose, broad forehead, symmetrical, braids - Apotropaic - to ward off evil/bad luck (ex. gorgon head - so scary it turns off evil) - heraldic flanking felines - speaks of power of gorgon and goddess within (reminiscent of Lion Gate) |
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Treasury of the Siphnians Archaic Period (600 - 480 BC) Delphi, Mainland Greece Treasuries: - safeguard offerings of individual cities + deter intruders - stand as offerings themselves Important: - securely dated - acts as valuable chronological marker for development of Greek sculpture Features: - most decorous treasury - Ionic - continuous running frieze - caryatids - akroteria - carved figures at apexes (roof corners) of building - constructed using wealth that came to Siphnos from its gold/silver mines |
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Treasury of the Siphnians Sculpture Archaic Period (600 - 480 BC) Delphi, Mainland Greece Features: - high relief - twisted perspective - gives viewer max info - overlapping - creates illusion of depth (not really standing behind each other, more like standing next to each other) - metal attachments? (swords, spears, armor) - create lively visual spectacle - figures adopt poses to fill triangular space - symmetrical - shields sculpted inward - create more depth West Frieze: - divided into three scenes - (1) winged Athena mounts chariot - (centre) another goddess steps down from another chariot - (3) block was lost - interpretation hinges on identity of goddess in central panel - Aphrodite? - represents Judgement of Paris (Hera and Paris on missing block) - Artemis? - represents birth of Apollo on Delos (palm tree at edge of centre block suggests activity on island) North Frieze: - Gigantomachy - triumph of Greek gods (good) over superhuman barbaric giants (evil) - foreshortening - painted inscriptions identify figures - Themis, Dionysus, Apollo, Artemis - signature of sculptor inscribed around edge of shield of giant (stylistic similarity on north/east friezes suggests he worked on both) |
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Treasury of the Siphnians Sculpture Archaic Period (600 - 480 BC) Delphi, Mainland Greece Themis' Lion Eating Giant (North Frieze): - body position - torso turned sort of to side which is more realistic/unusual for sculpture perspectives - musculature - 3D roundness of body in flattened forms, detailed mane - facial expressions - muscles surrounding teeth of lion get scrunched up, look of pain on giant with helmet - open - never before seen in sculpture - usually ideal body doesn't express violent emotions (ex. pain), so this was radically different/new |
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Treasury of the Siphnians Sculpture Archaic Period (600 - 480 BC) Delphi, Mainland Greece Back Frieze: - verbal argument between divinities over fate of heroes at Troy - actual encounter at Troy between heroes, dismounted from chariots over body of fallen warrior - shields sculpted in - create illusion of depth |
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New York Kouros Archaic Period (600 - 480 BC) Attica, Mainland Greece Kouros: - "male youth" - peak age of physical, mental, psychological, spiritual ability - Greek appreciation of physical body - projection of ideal representation of man - function - assert superiority of aristocratic social system - symbols of aristocratic excellence/superiority (cost of one was enormous, thus shows wealth/standing of family) - must be naked - male nudity functioned as distinguishing marker (separate men from women, civilians from slaves, civilized Greeks from non-Greek barbarians) - allows body (shared attribute between gods/men) to be full revealed - points to partnership between two - variations - repeat/copies of one another, has meaning both as individuals and as members of replicated series - placed in sanctuaries - votive dedications/offerings to gods (Agalmata - "objects of delight", gifts to gods) - placed in cemeteries - grave markers, representation of buried person, donations to gods on top of grave (honoured, commemorated dead - shown in prime of life whatever their age at death) - stance - meant to indicate movement/walking (but straight line from head to bottom of right foot, not how regular person walks) New York Kouros: - wears only neckband, otherwise naked - Daedalic - indication of mass through line - volume of abdominal muscles indicated through line |
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Twin Kouroi: Kleobis and Biton Archaic Period (600 - 480 BC) Sanctuary of Apollo, Delphi, Mainland Greece Kouros: - "male youth" - peak age of physical, mental, psychological, spiritual ability - Greek appreciation of physical body - projection of ideal representation of man - function - assert superiority of aristocratic social system - symbols of aristocratic excellence/superiority (cost of one was enormous, thus shows wealth/standing of family) - must be naked - male nudity functioned as distinguishing marker (separate men from women, civilians from slaves, civilized Greeks from non-Greek barbarians) - allows body (shared attribute between gods/men) to be full revealed - points to partnership between two - variations - repeat/copies of one another, has meaning both as individuals and as members of replicated series - placed in sanctuaries - votive dedications/offerings to gods (Agalmata - "objects of delight", gifts to gods) - placed in cemeteries - grave markers, representation of buried person, donations to gods on top of grave (honoured, commemorated dead - shown in prime of life whatever their age at death) - stance - meant to indicate movement/walking (but straight line from head to bottom of right foot, not how regular person walks) Twin Kouroi: - found together - meant to be together - boots - Kouros statues meant to be naked, but they're wearing boots (traveler's boots - represents story of them pulling mother's cart to Delphi) - Herodotus' tale - mother prays to Apollo at Delphi that her sons should have the best in life because they're wonderful, so Apollo kills them because at that point in time, they had the best they ever would (Kouros - peak age) since if they grew up, they would have time to do something wrong that would ruin their status/reputation - could also be the Dioskouri (Castor and Polydeuces), the twins of Greek mythology Twin Kouroi Features: - archaic smile - ideal state of emotion (happiness?) - some definition in cheekbones/face - easier to figure out anatomy/definition of face when smiling - "The Laughing Ones" - name for rich because they had time to laugh (smile reflected aristocracy of time period) and money to finance these type of sculptures - patternized anatomy - line, short/square torsos - hairstyle - reminiscent of Daedalic style (symmetrical braids) |
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Anavysos Kouros Archaic Period (600 - 480 BC) Anavysos, Attica, Mainland Greece Kouros: - "male youth"- peak age of physical, mental, psychological, spiritual ability - Greek appreciation of physical body - projection of ideal representation of man - function - assert superiority of aristocratic social system - symbols of aristocratic excellence/superiority (cost of one was enormous, thus shows wealth/standing of family) - must be naked - male nudity functioned as distinguishing marker (separate men from women, civilians from slaves, civilized Greeks from non-Greek barbarians) - allows body (shared attribute between gods/men) to be full revealed - points to partnership between two - variations - repeat/copies of one another, has meaning both as individuals and as members of replicated series - placed in sanctuaries - votive dedications/offerings to gods (Agalmata - "objects of delight", gifts to gods) - placed in cemeteries - grave markers, representation of buried person, donations to gods on top of grave (honoured, commemorated dead - shown in prime of life whatever their age at death) - stance - meant to indicate movement/walking (but straight line from head to bottom of right foot, not how regular person walks) Anavysos Kouros: - named after village it was found in - more natural presentation - advancements toward more natural proportions/contours, 3D/depth, volumetric (creating mass by volume, not line) - butt - bottoms of cheeks are at same level (static symmetry - indicates motion's implied, not actual) - Daedalic features - Amygdaloidal eyes - almond shaped - archaic smile - more defined cheekbones - patterned hair - repeated symmetrical curls - inscription on base - "stay and mourn at monument of dead Kroisos who the raging Ares as he fought in the front ranks" - suggests connection with kingdom of Lydia - most well known monarch was legendarily rich Kroisos (but not necessarily true since foreign names were commonly used in Attica during this period) |
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Anavysos Kouros Archaic Period (600 - 480 BC) Anavysos, Attica, Mainland Greece Kouros: - "male youth"- peak age of physical, mental, psychological, spiritual ability - Greek appreciation of physical body - projection of ideal representation of man - function - assert superiority of aristocratic social system - symbols of aristocratic excellence/superiority (cost of one was enormous, thus shows wealth/standing of family) - must be naked - male nudity functioned as distinguishing marker (separate men from women, civilians from slaves, civilized Greeks from non-Greek barbarians) - allows body (shared attribute between gods/men) to be full revealed - points to partnership between two - variations - repeat/copies of one another, has meaning both as individuals and as members of replicated series - placed in sanctuaries - votive dedications/offerings to gods (Agalmata - "objects of delight", gifts to gods) - placed in cemeteries - grave markers, representation of buried person, donations to gods on top of grave (honoured, commemorated dead - shown in prime of life whatever their age at death) - stance - meant to indicate movement/walking (but straight line from head to bottom of right foot, not how regular person walks) Anavysos Kouros: - named after village it was found in - more natural presentation - advancements toward more natural proportions/contours, 3D/depth, volumetric (creating mass by volume, not line) - butt - bottoms of cheeks are at same level (static symmetry - indicates motion's implied, not actual) - Daedalic features - Amygdaloidal eyes - almond shaped - archaic smile - more defined cheekbones - patterned hair - repeated symmetrical curls - inscription on base - "stay and mourn at monument of dead Kroisos who the raging Ares as he fought in the front ranks" - suggests connection with kingdom of Lydia - most well known monarch was legendarily rich Kroisos (but not necessarily true since foreign names were commonly used in Attica during this period) |
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Peplos Kore Archaic Period (600 - 480 BC) Athens, Mainland Greece Kore: - female counterpart of Kouros - draped standing female figure - always clothed (female nudity wasn't allowed) - smaller than Kouros statues - functions - votive + commemorative at sanctuaries/cemeteries (like Kouros) - symbols of wealth, family prestige - changes rendered throughout period measured more in terms of drapery than anatomy - three major female garments - peplos, chiton, mantle/himation - sometimes logic of actual garments lost in favour of richness of patterns - provides ornamental qualities (creases, folds, etc.) Peplos Kore: - dedication on Athenian acropolis - marble - wearing peplos over chiton - amongst last korai to wear peplos - subtle asymmetries - slightly turned head, barely advanced foot/shoulder - left forearm carrying gift - Daedalic - body form under clothing - some pink in eyes, lip, hair survived - painting of eyeballs - gives more dramatic sense - holes - for earrings, necklace/pin, metal attachments |
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Polyxena Sarcophagus Archaic Period (600 - 480 BC) Chinakalei, Persia, Asia Minor Oldest figured sarcophagus in Asia Minor: - found outside of Greece, yet still within circle of Greek influence - provides evidence for high quality sculpture produced by Greek artists in areas under non-Greek control - marble grave monument - shows groups of women (men are absent) One Long Side: - funerary celebration - seated women, female attendants/musicians, dancing warriors Other Long Side: - Sacrifice of Polyxena - daughter of King Priam of Troy sacrificed to tomb of Achilles in order to be his wife in afterlife - tripod at one end - allusions to death of Achilles - women pulling hair, wailing, arms up - gestures of mourning - figure leaning on stick - gesture of despair Features: - Isocephalism ("same/equal head") - arrangement where all heads are on same level, creates easier read - drapery - stiff, patterned, does't fall naturally - Kouros-like eyes and mouths - |
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Francois Vase Archaic Period (600 - 480 BC) Attica, Mainland Greece Hydria vase? Volute krater? (Larger than usual) - earliest source of mythology - signed Ergotimos (potter) + Kleitias (painter) - used to mix wine with water at symposium (male drinking party) - six figured friezes on either side - animals/florals now regulated to unimportant zones only - each figure identified with inscription - able to recognize what story's being told - evidence that words have visual meaning as well (not just textual) - can point to word and say that's so-and-so's name, even if one can't read it Narratives: - funeral games of Patroklos - cousin of Achilles who died when he took Achilles' place when he went back to Troy during Trojan War - dance of Theseus - when he killed Minotaur, fled to island and did this dance to gods to celebrate - Calydonian boar hunt - giant boar ravaging Calydon, so heroes from all over gathered to see who can kill it - battle of lapiths vs. centaurs - marriage of Peleus and Thetis - takes up most space (belly of pot), prototypical marriage imagery, use of architecture (house of Peleus, fountain house, walls of Troy) to suggest locale and punctuates compositions Features: - overlapping - creates depth - twisted perspective - frontal + profile (depicts body in varied movement/space) - Kouros-like figures with beards/armour - indicate age and activity - Attic black figure - black figures on red background (paint entire figure black, then sketch in details after) - inscriptions - start at person's head/mouth as if person's speaking own name (shows direction of writing hadn't been standardized yet) |
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Achilles Killing Penthesileia Amphora, by Exekias Archaic Period (600 - 480 BC) Mainland Greece Exekias: - master of "the moment in-between" - moment just before/after something happens (infinitely more impactful) - potter and artist - representation of emotional states - implies narrative and its emotion - intense emotion/drama - Attic black figure - central panel/scene - entire pot not covered in decoration This Amphora: - emotional intensity as eyes lock at moment of her death - Queen of Amazon - one woman who's Achilles' equal - just as he kills her, their eyes lock, and they realize they're in love - shows moment before she dies - immense detail - leopard skin rosette spots with crisscrossed hem - Achilles' shield - shows overlap and inside (creates depth) |
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Achilles and Ajax Playing Dice Amphora, by Exekias Archaic Period (600 - 480 BC) Mainland Greece Exekias: - master of "the moment in-between" - moment just before/after something happens (infinitely more impactful) - potter and artist - representation of emotional states - implies narrative and its emotion- intense emotion/drama - Attic black figure - central panel/scene - entire pot not covered in decoration This Amphora: - becomes very popular subject - names written above heads - word coming out of mouths indicates result of game - Achilles says "four" and Ajax says "three" - Achilles (as number one fighter) wins game - shows superiority - quiet moment during Trojan War where top fighters stop and have game of dice - seemingly peaceful scene - yet foreboding, ominous with pent-up rage shortly to be released (Achilles' anger takes him out of battle, but viewer knows he'll return and of the dire events to follow) - immensely detailed - pattern of cloaks (large rosettes, stars, tiny lion head on Achilles' shoulder - frontal eye - crispness/control of detail - symmetrical - shields on either side, similar cloaks, man on each side of table |
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Suicide of Ajax Amphora, by Exekias Archaic Period (600 - 480 BC) Mainland Greece Exekias: - master of "the moment in-between" - moment just before/after something happens (infinitely more impactful) - potter and artist- representation of emotional states - implies narrative and its emotion - intense emotion/drama - Attic black figure - central panel/scene - entire pot not covered in decoration This Amphora: - very rare depiction - moment when Ajax puts sword on ground and decides to kill himself - sadness, resignation |
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Attic Bilingual Amphoras Archaic Period (600 - 480 BC) Andokides' Workshop, Mainland Greece Andokides painter - anonymous painter who painted pots made by Andokides - though of as inventor of red figure - scenes - Herakles and sacrificial bull, Dionysus reclining Features: - Attic red figure - comes to dominate (since details can be sketched on before being fired) - relief line - contours/outlines and salient inner lines sometimes stand off surface - dilute glaze line - thinner line used for details of anatomy/drapery (fired to brown, rather than black) - dress/anatomy - now distinguishes from men/women Bilinguals: - black figure on one side, red figure on another - often same scene, but not always - demonstrates versatility of painter |
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Attic Bilingual Amphoras Archaic Period (600 - 480 BC) Andokides' Workshop, Mainland Greece Andokides' Painter - anonymous painter who painted pots made by Andokides - though of as inventor of red figure - scenes - Herakles and sacrificial bull, Dionysus reclining Features: - Attic red figure - comes to dominate (since details can be sketched on before being fired) - relief line - contours/outlines and salient inner lines sometimes stand off surface - dilute glaze line - thinner line used for details of anatomy/drapery (fired to brown, rather than black) - dress/anatomy - now distinguishes from men/women Bilinguals: - black figure on one side, red figure on another - often same scene, but not always - demonstrates versatility of painter |
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Attic Bilingual Amphoras Archaic Period (600 - 480 BC) Andokides' Workshop, Mainland Greece Euphronios: - one of the "Pioneers", who're known for their daring attempts at new poses/views - serene Herakles wrestling giant Antaios in uncomfortable position - known for his liking for anatomical detail of bone/muscle, wrinkle of flesh, veins - awkward postures and emotional states in precisely painted detail Features: - Attic red figure - comes to dominate (since details can be sketched on before being fired) - relief line - contours/outlines and salient inner lines sometimes stand off surface - dilute glaze line - thinner line used for details of anatomy/drapery (fired to brown, rather than black) - dress/anatomy - now distinguishes from men/women Bilinguals: - black figure on one side, red figure on another - often same scene, but not always - demonstrates versatility of painter |
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Temple of Aphaia Plan Transition Period (480 - 450 BC) Aegina, Mainland Greece Aphaia - nymph who looks sort of like Athena Structure: - similar to Temple of Artemis - more narrow, not as long as Archaic period temples - Hexus-Style - six columns at front - columned cella Columns: - columns - 6 x 17 (doesn't follow formula) - longer, more slender/narrow than Archaic period columns - lean slightly inward - corner columns slightly thicker than others - interior columns include second story columns (on top) - gives sense of height, airiness, light Angle Contraction: - Doric refinement - attempts to solve counter-intuitive triglyph rules - place triglyph above middle of entrance to temple - make spaces between each triglyph different sizes - narrow space between corner and adjacent columns - contracts whole corner |
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Temple of Aphaia Transition Period (480 - 450 BC) Aegina, Mainland Greece Aphaia - nymph who looks sort of like Athena Structure: - similar to Temple of Artemis - more narrow, not as long as Archaic period temples - Hexus-Style - six columns at front - columned cella Columns: - columns - 6 x 17 (doesn't follow formula) - longer, more slender/narrow than Archaic period columns - lean slightly inward - corner columns slightly thicker than others - interior columns include second story columns (on top) - gives sense of height, airiness, light Angle Contraction: - Doric refinement - attempts to solve counter-intuitive triglyph rules - place triglyph above middle of entrance to temple - make spaces between each triglyph different sizes - narrow space between corner and adjacent columns - contracts whole corner |
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Temple of Aphaia Sculpture Transition Period (480 - 450 BC) Aegina, Mainland Greece Features: - looks like sculptures from two different time periods - suggests different sculptors/workshops - exemplified in contrast between two collapsing corner warriors - geometric - triangle formed by standing to kneeling to reclining figures (thus, theoretically, everyone's same size) Top/West Pediment: - Retrospective (late Archaic style) - more contemporary in style, looking backward - static, more old fashioned, stiff, angular - Athena as central figure - other figures moving away/outward from her - Aphaia and Athena can be interchanged Bottom/East Pediment: - Forward-looking (Severe style) - more active, movement, more drama - more naturalistic/realistic movement - figures move inward toward central |
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Temple of Aphaia Reclining Figure Transition Period (480 - 450 BC) Aegina, Mainland Greece Features: - looks like sculptures from two different time periods - suggests different sculptors/workshops - exemplified in contrast between two collapsing corner warriors - geometric - triangle formed by standing to kneeling to reclining figures (thus, theoretically, everyone's same size) Top/West Pediment Reclining Figure: - Kouros-like - archaic smile, amygdaline eyes, patterned hair, fairly good musculature (still linear though) - shot with arrow in chest - thus fallen down - no tension/flexing in the arm holding him up - not realistic (as if still trying to understand anatomy) - shows only what's on surface |
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Temple of Aphaia Reclining Figure Transition Period (480 - 450 BC) Aegina, Mainland Greece Features: - looks like sculptures from two different time periods - suggests different sculptors/workshops - exemplified in contrast between two collapsing corner warriors - geometric - triangle formed by standing to kneeling to reclining figures (thus, theoretically, everyone's same size) Bottom/East Pediment Reclining Figure: - shot- thus fallen down - more natural musculature - bicep holding shield - shows veins, flexing (realistic for someone leaning against shield) - open mouth, drooping eyelids - as if in process of dying (psychological portrait, giving insight to thoughts) - shows what beneath surface |
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Plan of the Temple of Zeus Transition Period (480 - 450 BC) Olympia, Mainland Greece Architect: - Libon of Elis - built to stand close to Temple of Hera - largest temple to be finished in Greece before Parthenon - Spartans - donated gold shield to be suspended in one of the gables as thanks offering for victory Structure: - Doric - Hexus-Style - six front columns - columns - 6 x 13 (follows formula) - exterior metopes - blank (except for ones above entrances to porches) - stuccoed limestone - limestone covered with stucco to make it look like marble and hide blemishes - marble - rooftiles, sculptures Metopes: - depict - labour of Herakles (assisted by Athena and Hermes) - back - young beardless hero overcoming Nemean Lion - front - bearded hero cleaning out Augean stables Levels of Meanings: Mythological Level: - chariot contest - recalls horrific consequences of oath-breaking plots - centauromachy - affirming supremacy of human discipline over barbarism - Herakles' exploits - overcoming tremendous troubles by work and will power mirrors life of man Historical Level: - defeats of Oinomaos, centaurs, Herkales' antagonists - echoes recent Greek defeat of alien Persians at battles of Salamis and Platea Topical Level: - chariot race, wrestling/boxing, Herakles' feats of strengths - clear allusion to Olympic Games Philosophical Level: - viewer encounters man structured in three manifestations - divine (gods), human (lapiths), animal (centaurs) |
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Temple of Zeus Cult Statue Transition Period (480 - 450 BC) Olympia, Mainland Greece Statue: - Zeus sitting on throne - temple dedicated to "Olympian Zeus" - held statue of Nike on outstretched right palm - inspired by Homer - scene from Iliad - created by Phidias - one of seven wonders of ancient world - closest representation to what Zeus actually looked like Position: - end of central passageway formed by interior second story colonnades (dividing cella into three spaces) - reflecting pool in front of statue - create moist environment? reflect light of candles/lamps so one can see it better? Features: - chryselephantine (gold + ivory) - so large - reached roof - viewers like immensity of it - sculptor wanted it smaller since he didn't like that proportions were off (if it stood up, head would go through roof) |
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Temple of Zeus East Pedimental Sculpture Transition Period (480 - 450 BC) Olympia, Mainland Greece Myth: - chariot race between Pelops and King Oinomaos - Zeus presented as judge - likely apparition who, unseen, sees all Figures: - Pausanias' description - Pelops stood on left of Zeus (but neglects to define whether statues's left or viewer's left) - King Oinomaos stands on other side of Zeus Features: - Zeus - largest - symmetrical - action focuses inward on central group - realistic/natural movement - garments - contrast skin/cloth and show off body (Archaic patterns still seen in folds bunched at ankle of Zeus) - women wear peplos - shows change of fashion Soothsayer Iamos: - resident prophet in Oinomaos' house - shows signs of age - heavy flesh of torso, balding head, non-ideal/Kouros body - expressiveness (new to Greek sculpture) - anxiety - furrowed brow, gesture of pressing hand to chin - foreboding - open mouth, heavy lidded eyes - knows future - knows Pelops will win via trickery, killing the king |
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Temple of Zeus East Pedimental Sculpture Transition Period (480 - 450 BC) Olympia, Mainland Greece Myth: - chariot race between Pelops and King Oinomaos - Zeus presented as judge - likely apparition who, unseen, sees all Figures: - Pausanias' description - Pelops stood on left of Zeus (but neglects to define whether statues's left or viewer's left) - King Oinomaos stands on other side of Zeus Features: - Zeus - largest - symmetrical - action focuses inward on central group- realistic/natural movement - garments - contrast skin/cloth and show off body (Archaic patterns still seen in folds bunched at ankle of Zeus) - women wear peplos - shows change of fashion Soothsayer Iamos: - resident prophet in Oinomaos' house - shows signs of age - heavy flesh of torso, balding head, non-ideal/Kouros body - expressiveness (new to Greek sculpture) - anxiety - furrowed brow, gesture of pressing hand to chin - foreboding - open mouth, heavy lidded eyes - knows future - knows Pelops will win via trickery, killing the king |
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Temple of Zeus West Pedimental Sculpture Transition Period (480 - 450 BC) Olympia, Mainland Greece Myth: - wedding of Perithoos - centaurs vs. lapiths (human women) Figures: - fully in round - not relief sculptures (fastened to pediment with rods) - most figures unfinished at back, some sliced flat, others hollowed out - to save weight - centre - Apollo (younger version of Zeus) invisible to fighters - victors always on right - thus Apollo's looking/gesturing to victor Features: - action contained by movement and counter-movement - presents restless struggle in single timeless moment - Perithoos' stance echoes that of one of the Tyrannicides - centaurs - wild hair/expressions (drunk beasts who give in to their passions) - women - impassive expressions (good Greek women don't give in to passions, are composed, are all about intellect) - differences in body owing to age/gender explored - drapery reacts to motion of body Severe Style - version of Kouros - impassive expression - blank, emotionless (no archaic smile, undercut eyes) - patterned hair - curls - flat cheeks - no real definition of cheekbones - big chin, bulging eyes, thick eyelids - all surface - no inner psychology - plain, heavy drapery - looks like its weighing down arm |
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Plan of the Agora Transition Period (480 - 450 BC) Athens, Mainland Greece History: - Greeks were so angered by Persians' destruction of their sanctuaries that, after Battle of Platea, they took oath (Oath of Platea) not to rebuild them - their desolation was to be perpetual reminder of Persian barbarism - Oath of Platea - prevented Athenians from reconstructing temples/treasuries on Acropolis, thus turned their attention to Agora Features: - Doric - exterior, Ionic interior - earliest appearance of order mixing in Athens - limestone - but Ionic capitals were marble - stoa - depic episodes of warfare in which Athenians took part in - most renowned painting - Battle of Marathon (Miltiades himself was shown) |
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Kritios Boy Transition Period (480 - 450 BC) Acropolis, Athens, Mainland Greece Name: - owing to similarity of head to one in group made by sculptors Kritios and Nesiotes - use of sculpture to honour real people - fresh development (exploited as political propaganda by new democracy) Figure: - last of Archaic Kouroi + first of new figures where movement of body's organically explored - first statue to ever accurately present biomechanics - biggest advance in history of sculpture - looks like Apollo, but body's completely different - marble Contrapposto: - "counter posture" - bend in hips to counteract bend in shoulders - actually how body moves - one buttcheek higher than other - new posture - right leg advanced/free, with weight on left leg - movement of horizontal axis - right hip lowered, shoulders tilted slightly, head turned, body curved a little Severe Style: - big chin - flat cheeks - thick eyelids - composed/impassive expression - no archaic smile - patterned hair - rolled hair (longer hair tied in plaits and wound around head) - origins - burst of Greek confidence following victories over Persians (brought new civic consciousness and sense of identity among Greeks) Features: - natural musculature - likely had shells for eyes - hair - radiates in thin strands from crowns, rolled up over fillet (headband) |
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The Tyrannicides Transition Period (480 - 450 BC) Agora, Athens, Mainland Greece Myth: - Harmodius and Aristogeiton - lovers Figures: - originals bronze; Roman copy marble - by Antenor/Kritios and Nesiotes - head of Harmodius - similar to that of Kritios boy - meant to be seen together- empty space created by raised hand filled in by arm thrusted forward of other figure Features: - Archaic hairstyle (closely packed, patterned curls) juxtaposed with Severe style face - Aristogeiton - consistently more Severe style hair/face - multiple angles of interest - not meant to only be viewed from front - rough folds of cloth contrast with smooth skin - abdominal/oblique muscles - more realistic (anatomy treated confidently) Gestures: - become shorthand - striding poses - arm thrust forward - like protecting his lover - arm raised up in chopping pose - associated with killing tyrants |
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Diskobolos (Discus Thrower), by Myron Transition Period (480 - 450 BC) Athens, Mainland Greece Figure: - original bronze; Roman copy marble - most copied piece in antiquity - followed path toward anatomical realism while avoiding emotional expressiveness Features: - series of flat intersecting planes (no evidence of spinal torsion - not realistic) - ribcage + bulging veins in arm shown - deeper carved eye socket - plain closed mouth - no more definition of facial features (no inner psychology shown) - hairstyle - mannered, close cropped curls, old fashioned (reminiscent of some heads in Olympia) - pose - new, unexpected, full of movement (yet held only between two/three receding planes, thus only one convincing viewpoint) - twisted, but still frontal |
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Artemision God Transition Period (480 - 450 BC) Cape Artemision, Mainland Greece Figure: - bronze - copper - lips, nipples - eyes/eyebrows - inlaid in ivory/bone and stone - identification of god depends on weapon held in right hand - lightning bolt (Zeus), trident (Poseidon) Technique: - bronze casting (aka lost wax method) - start with core (wood) and put wax all over model and carve defined features in wax - put terracotta mould all over it - put it over fire to melt wax and pour bronze into negative space, then do finishing touches - likely done as individual body parts - simple assembly line for mass producing bronze statues Features: - commanding presence - weight on front foot with heel of back foot raised - excellent musculature - pays attention to hip movement - expression - calm, resolute - hair - more fluid, complex Problems: - frontal view of torso - yields no forward movement of upper body to correspond with weight being on front foot (improved when viewed obliquely) - very long limbs (especially front arm) - 3/4 view used to foreshorten arms, yet still long - loose bangs across forehead explore possibilities of casting and introduce more plastic movement |
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The Riace Warriors Transition Period (480 - 450 BC) Riace, South Italy Figures: - bronze - lips/nipples - copper - teeth - silver - eyes - inlaid (shells?) - originally carried both shield/spear - bronze casting technique - found in sea - may come from shipwreck (merchant carrying spoils to Italy for Roman patrons?) - clay - probably from Argos - sculptors now interested in way body parts connect and how movement in one promotes movement in others - interconnection of muscles (medicine) Features: - Severe style - lateral stance - offering weight leg + free leg - advanced musculature - shows sophisticated knowledge of muscle, sinew, flesh, bone in motion (goes beyond anything at Olympia) - mood - represented through face, hairstyle, set of body, angle of head Warrior A (Younger Man): - may have worn wreath - posture - hips tilt one way, shoulders tilt other way, head turns challengingly to right - mood - energetic, challenging, almost arrogant Warrior B (Older Man): - wore helmet, pushed back (now lost) - posture - sways to right, left knee advances front plane - mood - relaxed, calm, almost resigned - stylistically more advanced - more adventurously engaged in space |
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Ludovisi Throne Transition Period (480 - 450 BC) Mainland Greece Features: - visual symmetry - first nude female in Greek art since Geometric period (don't get another one for at least 100 years) Western Greeks: - appear to be ahead of Eastern Greeks - transparent drapery - still clothed, but very translucent material over body (wet look) - male sculptors didn't understand female figure, thus errors in anatomy - breasts off centre and don't look like that |
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Apollo and Artemis Krater Transition Period (480 - 450 BC) Athens, Mainland Greece The Niobid Painter Myth: - Niobe boasted of number of her children to goddess Leto, who had only two (Artemis and Apollo) - depicts Apollo and Artemis slaughtering children of Niobe - acts of hubris/pride invites divine retribution Features: - Contrapposto - various postures on various wavy ground lines - suggests landscape, space, depth (figures lean against rock and tree in distance) - no reduction in size of figures who're theoretically in distance - 3/4 + intermediate views - profile eye appears in profile view - drapery loses still Archaic patterns - falls more freely - accurately drawn foreshortening Reverse Side: - shows Athena, Herakles, other heroes - similarly arranged over surface (scene of Athena and Herakles in underworld) - Herakles and companions shown at ease - constrasting with active violence of Apollo and Artemis - like pediments at Olympia - contrasting quiet scene full of foreboding at front of temple with hot action at back |
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Plan of the Acropolis High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece |
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Plan of the Propylaia, by Mnesikles High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Structure: - contemporary Parthenon - split-level gateway - Doric exterior, Ionic interior - columns - six front/back, six (two rows of three) inside - five-doored entranceway - four stepped, one unstepped (for animals) - blank metopes - marble - abandoned just before Peloponnesian War (thus incomplete) - Archaic entrance - small, more in keeping with old Mycenaean notion of Acropolis as fortress (yet now with emphasis as sanctuary, gateways was to be more imposing and welcoming) Pinakotheke: - "place of the paintings" - possibly referred to this in ancient times - flanking unit to NW - where paintings on wooden panels displayed + dining took place - primary method of painting in this time - panel painting |
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Temple of Athena Nike High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Structure: - Ionic - signifies end of Doric order (from now on only Ionic) - contrasts with Doric of Propylaia (since it overlooks Propylaia - columns - four prostyle front/back - volute capitals - only one square cella - probably due to spatial constraint (it's on edge of cliff) Continuous Frieze: - east - congregation of divinities (seated, standing, in motion) - south - Greeks vs. Persians - west - Greeks vs. Greeks (suggests building was constructed after Peloponnesian War) - billowing drapery, elongated figures, awkward poses - anticipate developments in next century Problem: - Greeks vs. Greeks - first instance of actual historical elements, but constructed during Peloponnesian War (representation of Athenians vs. Spartans? representation of Athenians in battle of Marathon? seen as being in past as almost mythological) Balustrade: - built after temple was constructed - around edge of bastion on N, S, W - six different sculptors - seated Athenas on each of three sides - series of Nikes in procession - first time seeing mulitple Nikes at once (personification of concept of victory, rather than deity herself) - early example of "wet look" - best example of time period |
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Nike Adjusting Sandal High Classical Period (450 - 400 BC) Balustrade of Temple of Athena Nike, Acropolis, Athens, Mainland Greece Balustrade: - built after temple was constructed - around edge of bastion on N, S, W - six different sculptors - seated Athenas on each of three sides - series of Nikes in procession - first time seeing mulitple Nikes at once (personification of concept of victory, rather than deity herself) - early example of "wet look" - best example of time period Figure: - demonstrates clinging drapery at its most transparent - garment slips from right shoulder, yet left's equally visible - new, precarious posture - allows drapery folds to swing across figure to reveal legs - clothing pressed against torso makes breasts visible, though covered |
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Plan of Erechtheion High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Structure: - Ionic - built opposite Parthenon - Ionic counterweight to Doric Parthenon - columns - six on east side of cella, north porch (four prostyle + two return) , and south porch (caryatids) - volute capitals - concave (used to be convex) - columns - tall, slender (to preserve lightness of appearance) - split level - can see all four sides of building from one vantage point - frieze - white marble figures pinned against blocks of black Eleusinian limestone Housed Several Cults: - cult of Erechtheios - early King of Athens, child of Athena and Hephaestus give to Athenians to raise - cults of Poseidon and Athena - marks area where supposedly they had their contest - cults to Zeus, Herakles, Artemis - 13 individual gods/heroes worshipped in this one building - most sacred building on Acropolis Features: - block inside with three scratches on it - supposedly where Poseidon's trident struck - olive tree in front of building - supposedly where Athena struck earth and produced olive tree |
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Erechtheion High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Structure: - Ionic- built opposite Parthenon - Ionic counterweight to Doric Parthenon - columns - six on east side of cella, north porch (four prostyle + two return) , and south porch (caryatids) - volute capitals - concave (used to be convex) - columns - tall, slender (to preserve lightness of appearance) - split level - can see all four sides of building from one vantage point - frieze - white marble figures pinned against blocks of black Eleusinian limestone Housed Several Cults: - cult of Erechtheios - early King of Athens, child of Athena and Hephaestus give to Athenians to raise - cults of Poseidon and Athena - marks area where supposedly they had their contest - cults to Zeus, Herakles, Artemis - 13 individual gods/heroes worshipped in this one building - most sacred building on Acropolis Features: - block inside with three scratches on it - supposedly where Poseidon's trident struck - olive tree in front of building - supposedly where Athena struck earth and produced olive tree |
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Caryatids High Classical Period (450 - 400 BC) Erechtheion, Acropolis, Athens, Mainland Greece Caryatid: - "girl/maiden" = kore - Ionic building - reminiscent of counterparts in Treasury of Siphnians (over 100 year ealier) - echoes maidens of east frieze in Parthenon "Porch of the Maidens": - represent maidens part of Panathenaic procession - maidens taking part in procession they'd be facing/looking at Features: - Contrapposto - straight weight leg (lost beneath vertical folds of drapery), free leg (pushes forward - carries weight of structure) - deep cut drapery folds - no wet look - overall weighty/blocky appearance - made bulkier than need be (artists didn't figure out weighting of walls) - wearing peploi with deep-cut vigorous folds over weight-bearing limbs - transparent cloth shaping/revealing knee, thigh, breast |
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Stoa Poikile (Painted Stoa) High Classical Period (450 - 400 BC) Agora, Athens, Mainland Greece Stoa: - open building - covered colonnaded building Structure: - Doric exterior, Ionic interior - one of earliest appearances of order mixing in Athens - limestone with part marble (ex. capitals) - interior - decorated with paintings - location - provided splendid views along Panathenaic Way toward Acropolis - first building at entrance of Agora - paintings were first thing visitors would see (had to go with glory of Athens, Athenian war hero myths) "Painted": - historically significant - where majority of important panel paintings were displayed - named after painted wooden panels with which it was decorated - none survived, but described by Pausanias - depicted episodes of warfare in which Athenians took part in - most renowned painting was Battle of Marathon Functions: - picture gallery - museum - where war trophies were deposited - meeting hall, law court - often open to public - meeting place for Socrates and his students (as said by Plato) - apparatus of democracy - define/activated political space |
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Doryphoros (Spear Bearer), by Polykleitos High Classical Period (450 - 400 BC) Athens, Mainland Greece Polykleitos of Argos: - wrote books called Kanon ("Proportions") - how to create perfect human form (Kanon) (more philosophical than mathematical) - thought to depend on "symmetria" (commensurability) of various parts of body - hazy word (did symmetria mean volume, shape, length, breadth, height, some equation involving these?) Techne: - Greek notion of craftsmanship ("craft, art") - first instance of art history? - analysing sculpture from analytical standpoint (conscious intellectual reflection/analysis of art) Figure: - original bronze; Roman copy marble - treetrunk + supportive strut - contributions of Roman copyist (wouldn't have been necessary for original) - Achilles? Theseus? - not sure who's being represented - javelin thrower? athletic? military? - 5th century version of Kouros? - 5th century ideal male was athletic and mathematic - represent either god/man - inspired by Polykleitos' belief that human minds could grasp nature of divinity (gods were anthropomorphic) - this may be the Kanon - example of perfect human figure (to exemplify info of book) Features: - expression - distant, tranquil (look seen in many Parthenon friezes) - heavy use of mathematics/relationships - key idea - symmetry - ideal proportion - 1:7 (used to be 1:6, but he was first to change it) - elongated body created more natural proportions - Chiastic arrangement - fluid "X" throughout - realism of bone/muscle, sinew/vein, hair/flesh - integrated into concept of ideal - figure that represents ideal is also most visually accurate/real - ambiguity of whether walking or standing matched by ambiguity of whether ideal or real Walking Stance: - explores reactions of body to weight leg/free leg pose - back foot on toes + heel off ground - Polykleitos' invention (illusion of biomechanical body in movement, mid-stride although static) - hips tilt horizontally as free leg's withdrawn - contracted muscles set torso in motion - head turns to same side as firmly planted weight leg - holds figure still - contrasting with Contrapposto (standing in natural way, not walking) - pose of poise/counterpoise in spatial freedom - tense forms balance relaxed ones - vertically - relaxed right arm w/ weight leg vs. tensed left arm w/ free leg - horizontally - weight/free leg vs. free/tensed arm Reconstruction: - shield, sword, javelin - spear - mighty heroic weapon (Achilles seen on contemporary vase with just such a heavy spear, suggests identification of Achilles) |
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Diadoumenos (Filet Binder), by Polykleitos High Classical Period (450 - 400 BC) Athens, Mainland Greece Figure: - original bronze; Roman copy marble - filet - "headband" (youth binding filet around his hair) - athlete fixing victor's ribbon around head? Apollo? Features: - major compositional difference from Doryphoros - arms held aloft to tie ribbon around head - similar to Doryphoros - posture of legs/torso, proportions, swing of hips, curve of motion through figure, shape of head - suggests figure was a later work - more aggressive turn of head + rich treatment of hair |
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Nike, by Paionios High Classical Period (450 - 400 BC) Temple of Zeus, Olympia, Mainland Greece Sculptor, Paionios of Mende: - inscription on base of statue - says he made it + he was commissioned to make akroteria for the temple - dedicated high on pedestal in front of Temple of Zeus at Olympia - to celebrate victory of Messenians and Naupaktians (as inscription says) Features: - full of movement/action - shown at moment of touching down, still hovering in flight with wings - drapery - as if wing of landing pulls garment against her - forced against body - accentuates anatomy - billowing out behind her - increases sense of forward motion about to come to halt - wet look, but not exactly - halways between Parthenon and Athena Nike sculptures - bared limb/breast contrast with covered parts of flesh - alright since it's not real woman (deity) - personifications of Nike - often used as akroteria on roofs of buildings, posed as if alighting |
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Nike, by Paionios High Classical Period (450 - 400 BC) Temple of Zeus, Olympia, Mainland Greece Sculptor, Paionios of Mende: - inscription on base of statue - says he made it + he was commissioned to make akroteria for the temple - dedicated high on pedestal in front of Temple of Zeus at Olympia - to celebrate victory of Messenians and Naupaktians (as inscription says) Features: - full of movement/action - shown at moment of touching down, still hovering in flight with wings - drapery - as if wing of landing pulls garment against her - forced against body - accentuates anatomy - billowing out behind her - increases sense of forward motion about to come to halt - wet look, but not exactly - halways between Parthenon and Athena Nike sculptures - bared limb/breast contrast with covered parts of flesh - alright since it's not real woman (deity) - personifications of Nike - often used as akroteria on roofs of buildings, posed as if alighting |
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Grave Stele of Hegeso High Classical Period (450 - 400 BC) Athens, Mainland Greece Grave Stelai: - start to reappear about 430 BC - stimulated by outbreak of Pelopponesian War? - tall single-figured stelai (Archaic) replaced by smaller broader reliefs decorated with two/more figures (Early Classical) - represent dead person as they appeared when still alive - generic, domestic - for mass production, for use with multiple people - figure characterized by attributes - soldier in armour, old man with stick, girl with doll - others depicted with companions during life - seen saying farewell or shaking hands - inscription - personalizes it (sometimes says who dead person was, but without identifying which figure they're represented by) This One: - for Hegeso - good example of architectural format - antae + pediment of doorwar - Hegeso - well-dressed, hair carefully arranged, elegantly seated - Hegeso engaged in favourite pastime - choosing jewellery from opened box with help of servant - receding planes - 3/4 + intermediate views - garments - transparent - faces - emotionally inexpressive - mood - serene, otherworldly (like Parthenon) |
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Attic White Ground Lekythos High Classical Period (450 - 400 BC) Mainland Greece Attic White Ground Pots: - started in Archaic period, height in Classical period - generic - for mass production, for use with multiple people - very fragile material - white background w/ dominant black details (with some blue) - primarily funerary - ritual pouring of oil, left as offering at shrine - scenes - departures, tombs, visitors This One: - seated women in front of a tomb - defines mass by line (broken contours), not shading - ex. beneath breast (gives fuller volume, rather than shading would) |
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Attic White Ground Lekythos High Classical Period (450 - 400 BC) Mainland Greece Attic White Ground Pots: - started in Archaic period, height in Classical period - generic - for mass production, for use with multiple people- very fragile material - white background w/ dominant black details (with some blue) - primarily funerary - ritual pouring of oil, left as offering at shrine - scenes - departures, tombs, visitors This One: - seated women in front of a tomb - defines mass by line (broken contours), not shading - ex. beneath breast (gives fuller volume, rather than shading would) |
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Plan of the Temple of Apollo, by Iktinos Fourth Century Period (400 - 300 BC) Bassae, Mainland Greece Structure: - limestone - highly original arrangement behind porch - cella + adyton (back room) with side door - Doric exterior, Ionic interior - odd proportions - 6 x 15 columns (doesn't follow formula) - interior engaged columns (attached to wall) - free-standing Corinthian column in middle of temple - Corinthian capital solves Ionic capital viewing problem (can now see curls from all angles) - Ionic frieze running along interior cella to adyton Features: - Corinthian capital - bell shaped echinus surrounded by acanthus leaves, spirals, palmettes, small pairs of volutes at all four corners - free-standing Corinthian column - purely decorative? symbolic of sacred tree of Apollo? Frieze: - Amazonomachy + Centauromachy - mixed quality of work - varied convincing scenes of combat to other showing impossible anatomies in contorted postures - scholars attribute stylistic inconsistency to provincialism - large muscles + deep drapery folds (Chiaroscuro) + wet look = late 5th century - exaggerated postures + theatrical expressions/gestures + deep-set eyes = 4th century (fierce expression of battle, last gasp of dying breath, depth of eye sockets adds emotion/shadows/light) - Greeks - shown emphatic musculature - Amazons - shown soft fleshy limbs/breasts fully visible through transparent drapery |
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Temple of Apollo Cella, by Iktinos Fourth Century Period (400 - 300 BC) Bassae, Mainland Greece Structure: - limestone - highly original arrangement behind porch - cella + adyton (back room) with side door - Doric exterior, Ionic interior - odd proportions - 6 x 15 columns (doesn't follow formula) - interior engaged columns (attached to wall) - free-standing Corinthian column in middle of temple - Corinthian capital solves Ionic capital viewing problem (can now see curls from all angles) - Ionic frieze running along interior cella to adyton Features: - Corinthian capital - bell shaped echinus surrounded by acanthus leaves, spirals, palmettes, small pairs of volutes at all four corners - free-standing Corinthian column - purely decorative? symbolic of sacred tree of Apollo? Frieze: - Amazonomachy + Centauromachy - mixed quality of work - varied convincing scenes of combat to other showing impossible anatomies in contorted postures - scholars attribute stylistic inconsistency to provincialism - large muscles + deep drapery folds (Chiaroscuro) + wet look = late 5th century - exaggerated postures + theatrical expressions/gestures + deep-set eyes = 4th century (fierce expression of battle, last gasp of dying breath, depth of eye sockets adds emotion/shadows/light) - Greeks - shown emphatic musculature - Amazons - shown soft fleshy limbs/breasts fully visible through transparent drapery |
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Temple of Apollo Sculpture, by Iktinos Fourth Century Period (400 - 300 BC) Bassae, Mainland Greece Structure: - limestone - highly original arrangement behind porch - cella + adyton (back room) with side door - Doric exterior, Ionic interior - odd proportions - 6 x 15 columns (doesn't follow formula) - interior engaged columns (attached to wall) - free-standing Corinthian column in middle of temple - Corinthian capital solves Ionic capital viewing problem (can now see curls from all angles) - Ionic frieze running along interior cella to adyton Features: - Corinthian capital - bell shaped echinus surrounded by acanthus leaves, spirals, palmettes, small pairs of volutes at all four corners - free-standing Corinthian column - purely decorative? symbolic of sacred tree of Apollo? Frieze: - Amazonomachy + Centauromachy - mixed quality of work - varied convincing scenes of combat to other showing impossible anatomies in contorted postures - scholars attribute stylistic inconsistency to provincialism - large muscles + deep drapery folds (Chiaroscuro) + wet look = late 5th century - exaggerated postures + theatrical expressions/gestures + deep-set eyes = 4th century (fierce expression of battle, last gasp of dying breath, depth of eye sockets adds emotion/shadows/light) - Greeks - shown emphatic musculature - Amazons - shown soft fleshy limbs/breasts fully visible through transparent drapery |
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Theatre at Epidauros, by Polykleitos the Younger Fourth Century (400 - 300 BC) Epidauros, Mainland Greece Structure: - built into hillside - to make use of natural slope and reduce costs (since theatre were now built of stone) - skene - dressing room for actors, storage for props/scenery - upper section of seats separated from lower by horizontal gangway giving access to hillside - closely associated with cult of Dionysus - special seats at ground level reserved for his priests, altar of Dionysus in orchestra (where sacrifice would have taken place before performances began) |
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Choregic Monument of Lysikrates Fourth Century (400 - 300 BC) Athens, Mainland Greece Victory Monuments: - as thanks to gods for the win - Choregas - producer, sponsor, financer (thus considered ultimate victor) - tripod - symbol of victory - Dionysus - god of wine, theatre, drama (thus you would pray to him) This One: - earliest instance of exterior Corinthian columns - limestone + marble - commemorating victory in theatrical contest of chorus sponsored by man called Lysikrates - apex of roof - elaborately carved stone foliage - bronze tripod - originally supported prize itself on roof |
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Plan of Olynthos Fourth Century (400 - 300 BC) Olynthos, Mainland Greece Emphasis on Urban Planning: - grid pattern, blocks, neighbourhoods - good example of orthogonal (right-angled) grid planning + domestic architecture within a grid - pathway - N/S avenues intersect E/W streets - grid - houses arranged front to back in two rows of five, separated by narrow alleys - block - each housing block has ten houses of equal size - house - within each house, individual rooms vary by size - very similar to "row housing" - all houses basically same - not exactly all same - over time, occupants change design of housing by knocking down/building up walls - includes "affluent" section - bigger, wealthier houses "Pastas" House: - narrow doorway opens to passage leading to courtyard (largest unit) open to sky with rooms around it - courtyard - columns (wooden posts) along one/more sides forming veranda(s) - ground floor - public rooms (dining room, general all purpose room) - second floor - private rooms (bedrooms) - multi-functional rooms - except for kitchen and dining room - dining room (andron, "man-room") - raised bench area all way around room with decorated/mosaic central floor (largest room) - some rooms may be used as stores Hippodamos of Miletus: - thought to be based on him (thus referred to as Hippodamian Plan) - first man to plan towns rationally, creating separate quarters for religious, public, private use - grid plan - most famous for this - but grid layout actually been used many years earlier in Sicily, Asia Minor, etc. - so he didn't really "invent" it - reputation may have grown from frequent used of grid plan and enthusiasm for rational approach to planning |
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Plan of Olynthos Fourth Century (400 - 300 BC) Olynthos, Mainland Greece Emphasis on Urban Planning: - grid pattern, blocks, neighbourhoods - good example of orthogonal (right-angled) grid planning + domestic architecture within a grid - pathway - N/S avenues intersect E/W streets - grid - houses arranged front to back in two rows of five, separated by narrow alleys - block - each housing block has ten houses of equal size - house - within each house, individual rooms vary by size - very similar to "row housing" - all houses basically same - not exactly all same - over time, occupants change design of housing by knocking down/building up walls - includes "affluent" section - bigger, wealthier houses "Pastas" House: - narrow doorway opens to passage leading to courtyard (largest unit) open to sky with rooms around it - courtyard - columns (wooden posts) along one/more sides forming veranda(s) - ground floor - public rooms (dining room, general all purpose room) - second floor - private rooms (bedrooms) - multi-functional rooms - except for kitchen and dining room - dining room (andron, "man-room") - raised bench area all way around room with decorated/mosaic central floor (largest room) - some rooms may be used as stores Hippodamos of Miletus: - thought to be based on him (thus referred to as Hippodamian Plan) - first man to plan towns rationally, creating separate quarters for religious, public, private use - grid plan - most famous for this - but grid layout actually been used many years earlier in Sicily, Asia Minor, etc. - so he didn't really "invent" it - reputation may have grown from frequent used of grid plan and enthusiasm for rational approach to planning |
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Plan of the Villa of Good Fortune Fourth Century (400 - 300 BC) Olynthos, Mainland Greece Emphasis on Urban Planning: - grid pattern, blocks, neighbourhoods - good example of orthogonal (right-angled) grid planning + domestic architecture within a grid - pathway - N/S avenues intersect E/W streets - grid - houses arranged front to back in two rows of five, separated by narrow alleys - block - each housing block has ten houses of equal size- house - within each house, individual rooms vary by size - very similar to "row housing" - all houses basically same- not exactly all same - over time, occupants change design of housing by knocking down/building up walls - includes "affluent" section - bigger, wealthier houses "Pastas" House: - narrow doorway opens to passage leading to courtyard (largest unit) open to sky with rooms around it - courtyard - columns (wooden posts) along one/more sides forming veranda(s) - ground floor - public rooms (dining room, general all purpose room) - second floor - private rooms (bedrooms)- multi-functional rooms - except for kitchen and dining room - dining room (andron, "man-room") - raised bench area all way around room with decorated/mosaic central floor (largest room) - some rooms may be used as stores Hippodamos of Miletus: - thought to be based on him (thus referred to as Hippodamian Plan) - first man to plan towns rationally, creating separate quarters for religious, public, private use - grid plan - most famous for this - but grid layout actually been used many years earlier in Sicily, Asia Minor, etc. - so he didn't really "invent" it - reputation may have grown from frequent used of grid plan and enthusiasm for rational approach to planning |
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Mausoleum at Halikarnassos Fourth Century (400 - 300 BC) Halikarnassos, Caria, Asia Minor (Turkey) Mausolos: - king (Persian governor) who contracted it - hired leading sculptors of the day - lead sculptor Skopas - one of seven wonders of ancient world (though little remains today) Funerary Monument: - to non-Greek ruler (Mausolos) in Greek style - sets stage for future "ruler monuments" - high podium supporting rectangular building with Ionic colonnade - much decorative sculpture - pyramid-shaped roof with a four horse chariot on top - body buried at bottom - everything above as decoration only - design incorporated Egyptian (roof) and Persian (podium) elements - similarities to Athena temple at Priene and style of sculpture - suggest Greeks were hired to design/decorate his tomb Amazonomachy: - typically depict Greeks vs. Other - ironic since Mausolos IS the "other" - basic chopping motion - as in with the Tyrannicides - deeply cut eyes - shadows, gives sense of emotional intensity - Figures have elements both Greek (stance, drapery) + Persian (long hair swept back from forehead over ears and to neck) + Portraiture (broad face, challenging eyes, short beard, fleshy mouth) |
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Mausoleum at Halikarnassos Amazonomachy Fourth Century (400 - 300 BC) Halikarnassos, Caria, Asia Minor (Turkey) Mausolos: - king (Persian governor) who contracted it - hired leading sculptors of the day - lead sculptor Skopas - one of seven wonders of ancient world (though little remains today) Funerary Monument: - to non-Greek ruler (Mausolos) in Greek style - sets stage for future "ruler monuments" - high podium supporting rectangular building with Ionic colonnade - much decorative sculpture - pyramid-shaped roof with a four horse chariot on top - body buried at bottom - everything above as decoration only - design incorporated Egyptian (roof) and Persian (podium) elements - similarities to Athena temple at Priene and style of sculpture - suggest Greeks were hired to design/decorate tomb Amazonomachy: - typically depict Greeks vs. Other - ironic since Mausolos IS the "other" - basic chopping motion - as in with the Tyrannicides - deeply cut eyes - shadows, gives sense of emotional intensity - figures have elements both Greek (stance, drapery) + Persian (long hair swept back from forehead over ears and to neck) + Portraiture (broad face, challenging eyes, short beard, fleshy mouth) |
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Hermes and Baby Dionysus, by Praxiteles Fourth Century (400 - 300 BC) Temple of Hera, Olympia, Mainland Greece Praxiteles: - worked in marble - one of his earliest pieces - famous for - languid "S" curve, sfumato, playfulness (all pleasing to eye and easily flowing) - Hermes' stance - High Classical (taken from Polykleitos) - Hermes' torso - reminiscent of 5th century (spare, heavy) - typical Praxitelean head - tapering shape, narrow eyes, smiling mouth, detailed modulation of forehead, dreamy expression Languid "S" Curve: - exaggerated version of Contrapposto - awkwardly placed torso, pushed-out hip (note of imbalance) - contours of body naturally echo swinging curve - slender proportions of long legs and small head - gives sense of delicacy - relaxed, idle, languorous, sensuous - Hermes exemplifies far different aspect of divine life that those depicted by sculptors in preceding centuries Sfumato: - "smokiness" - blurring of edges, softness - blur smooth transitions from plane to plane, leaving them indistinct - drapery slung over tree trunk contrasts with broad expanses of body (shows naturalism in variations of folds/creases) Playfulness: - humour + sexuality - if Hermes' right arm was to be reconstructed - dangling grapes (teasing) as Dionysus reaches for them (ironic since he's god of wine) - Hermes looking at Dionysus, but Dionysus looking sort of at him, but mostly at grapes - gazes intersect in domestic, personal, playful moment - divinities shown as mortals engaged in mortal activity (humanization of divine) - interest in gods as mortals - characteristic of later 4th century - contrast age between youth and infant Problems: - found in exact place where it was thought to be - never happens, so it's suspicious - little hole at tailbone of Hermes - suggests satyr, not Hermes - strut used between tree trunk and Hermes' hip, high polish of surface, recutting/miscutting of back, type of sandal worn by Hermes - point to later date - regardless, tells much about changes introduced by Praxiteles |
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Aphrodite of Knidos, by Praxiteles Fourth Century (400 - 300 BC) Temple of Aphrodite, Knidos, Mainland Greece Cult Statue: - most famous statue by Praxiteles - original marble; Roman copy marble - stood in open shrine, visible from every side - divine had become accessible (almost personal), captured in intimate moment - first full-scale female nude statue - works because she's goddess of lust/sexuality/erotica and not human - copied many time, appeared on coinage of Knidos, thought Aphrodite herself helped in its creation - held so much power due to erotic impact of figure (excited admiration, stirred sexual appetites) Features: - in process of bathing - overt sexuality - Pudica gesture - covering genitalia - shy? surprised? - goddess of love shouldn't be abashed - playful? by covering it, it draws more attention to that area - shares some features with Hermes - long legs, small head, right hip pushed out, S-curve rising through body - represents Phryne, Praxiteles' mistress? |
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Meleager, by Skopas Fourth Century (400 - 300 BC) Mainland Greece Meleager: - celebrated hunter - took part in Calydonian boar hunt - Roman copy marble - no literary source mentions a Meleager by Skopas - but number of Roman copies suggest Greek original + style of head consistent with Skopas' style Features: - more definition - torso - strong modelling, soft transition from plane to plane, more abrupt clear-cut musculature (line of hip/groin clearly demarcated) - slow torsion - pulls left shoulder forward to balance rightward thrust of hip - full-frontal view (Classical) - still shown in broad expanse of torso, but waning - 3/4 (immediate) view - shown by direction of head's gaze - emotion through carving - fashion for depicting stressed emotional states by treating facial features in pronounced way (deep-set eyes, bulging eyebrows, forehead in two planes, flat cheeks, tousled hair, squarish skull, open mouth) - expression of intensity/strain - ambiguity of expression in face (some suggest self-absorbed far-away look, some suggest more determine humanly-involved look) |
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Apoxyomenos (The Scraper), by Lysippos Fourth Century (400 - 300 BC) Mainland Greece Lysippos: - last of 4th century sculptors, first of Hellenistic sculptors - original bronze; Roman copy marble - athlete uses strigil to scrape oil off body - shows him directly challenging conventional Classical four-sided approach and giving way to 3D movement - allowed subsequent sculptors to break conventional Classical rules as well Features: - breaks frontality (square approach) - arm stretched out directly in front, with other at right angle to it (broad front of torso broken) - visual space of figure extended - conceived in 360 degrees - spinal torsion - muscles bunched up on side while other side's flat (doesn't have to be real, just has to look real/interesting) - torsion in lower part of figure - out-turned foot, bent knee, shifting horizontal axis (continued in upper part by position of arms) - 1:8 symmetry - advocated new Kanon/proportions (slenderer bodies + slender heads - gives appearance of greater height) |
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Head of Alexander the Great, by Lysippos Fourth Century (400 - 300 BC) Mainland Greece Lysippos: - court sculptor to Alexander the Great - only person allowed to sculpt his image Features: - deep cut eyes - tilt of head - slightly open mouth - gives more to psychology of sculpture - unruly/curly hair + certain set of head - made him recognizable as Alexander the Great - Anastole - off-centre parting of hair (characteristic of Alexander of the Great) Allegory: - Alexander often referred to as lion - hair looks like mane - Physiognomics - thought to be descended from Herakles - hence lionskin helmet he's often depicted wearing - in appearance, thought to have resembled Helios (sun god) |
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Alexander Sarcophagus Fourth Century (400 - 300 BC) Sidon, Mainland Greece Alexander the Great: - not his burial sarcophagus - only called that because it has scene with him on it - coffin of Abdalonymos (King of Sidon) - only contemporary representations of him we have - earliest portrait of him that survived - wears crown that looks like lion's mane - model of Macedonian male virtue - blending of Greek architecture + Macedonian narrative Pediments: - scenes of combat - Macedonians vs. Persians - overlapping twisting figures (vividly capture turmoil of battle) - Macedonians + Persians hunting together - fluttering drapery adds vigour to typical scene of royal hunt Hunt Frieze: - princely pastime - uncomplicated - cloaks fly about - gives impression of rapid activity - convey danger/thrill of royal hunt Battle Frieze: - princely pastime - condensed - thick with overlapping, collapsing, kneeling, struggling figures of warriors, horses, weapons (not easily recognizable, but gives clear picture of intensity of melee) - Alexander on horseback charging forward to transfix falling Persian with his lance - repeated in Alexander Mosaic (motif taken from pattern book?) - intended to represent/allude to historical Battle of Issus - fought at spot North of Sidon, Macedonians beat Persians, Alexander made Abdalonymos king of Sidon Figures: - project beyond each panel's front plane - high relief - crisply finished/painted - purple, blue, yellow, red - bodies bent at weird angles - shows anguish - metal attachments - reins, bridles, weapons |
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Alexander Sarcophagus Fourth Century (400 - 300 BC) Sidon, Mainland Greece Alexander the Great: - not his burial sarcophagus - only called that because it has scene with him on it - coffin of Abdalonymos (King of Sidon) - only contemporary representations of him we have - earliest portrait of him that survived - wears crown that looks like lion's mane - model of Macedonian male virtue - blending of Greek architecture + Macedonian narrative Pediments: - scenes of combat - Macedonians vs. Persians - overlapping twisting figures (vividly capture turmoil of battle) - Macedonians + Persians hunting together - fluttering drapery adds vigour to typical scene of royal hunt Hunt Frieze: - princely pastime - uncomplicated - cloaks fly about - gives impression of rapid activity - convey danger/thrill of royal hunt Battle Frieze: - princely pastime - condensed - thick with overlapping, collapsing, kneeling, struggling figures of warriors, horses, weapons (not easily recognizable, but gives clear picture of intensity of melee) - Alexander on horseback charging forward to transfix falling Persian with his lance - repeated in Alexander Mosaic (motif taken from pattern book?) - intended to represent/allude to historical Battle of Issus - fought at spot North of Sidon, Macedonians beat Persians, Alexander made Abdalonymos king of Sidon Figures: - project beyond each panel's front plane - high relief - crisply finished/painted - purple, blue, yellow, red - bodies bent at weird angles - shows anguish - metal attachments - reins, bridles, weapons |
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Grave Stele of Dexileos Fourth Century (400 - 300 BC) Mainland Greece Features: - high relief - inscription - identifies gravestone as that of young man killed in action against Spartans in 394 BC - spear/reins - bronze - horse/horseman - reminiscent of Parthenon - billowing drapery - echoes that of Nike balustrade - Classical restraint replaced by all-out violence/collapse |
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Panathenaic Amphora Fourth Century (400 - 300 BC) Mainland Greece Victor Prizes: - given as prizes to victors - amphoras of olive oil - sometimes can be resold, thus athletic winner can earn money very rapidly - some idea of value of prizes at the games - allows speculation about motivations of athletes (glory, status, money) Features: - style never changes - inscriptions change - name of "archon", chief magistrate, of year of games (thus many can be dated precisely) - twisted perspective - black figure - even after introduction of red figure - swallow-tail folds - Athena on one side, scene from games on other - looks Archaic, but isn't ("archaistic") - to show tradition, religion, conservatism (shows that once style comes into being, it never fully disappears; may go out of fashion, but still around in elements) This One: - striding Athena on one side, scene from "pankration" (wrestling/boxing) on other - inscribed - "Niketes, archon in 332-331 BC" |
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Alexander Mosaic Fourth Century (400 - 300 BC) House of Faun, Pompeii Mosaic: - tesserae floor mosaic - little square manufactured tiles (terracotta, glass, etc.) - depicts turning point in Battle of Issus - personal duel between Alexander and Darius (Persian King) - Alexander charges forward toward Darius, transfixing his lance through a Persian who stood in his way (motif scene in Alexander Sarcophagus) Features: - four colours only - attention concentrated on figures - modelled with foreshortening and bold use of light/shade - immense detail - fallen warrior - we see only backside, but we can see front through reflection in shield - Persian garments - rendered accurately in 4th century terms - empty background - articulated only by lances held aloft and a blighted tree, balancing Darius in composition - empty foreground - except for debris of battle |
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Hades Abducting Persephone Fourth Century (400 - 300 BC) Tomb of Persephone, Vergina, Macedon Wall Painting: - depicts Hades carrying off Persephone - deals with death, but myth promises life to Persephone as well - message - of hope as well as separation Features: - foreshortening - as seen in wheel + Persephone's body bends back - perspective - gives sense of depth - shading - lends volume to faces/drapery - rapid brushstrokes - colour, fine composition, sense of movement, deft drawing of facial features (combine to create moment of high drama) - gives insight to how artists work - shows initial sketch underneath final |
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Lion Hunt Mosaic Fourth Century (400 - 300 BC) House of Dionysus, Pella, Macedon Mosaic: - pebble mosaic - find pebbles of same colour, then lay out on cement in design - metal contours - subject - royal activity (hunt theme) Features: - three colours only - hunters echo striding/lunging figures of earlier Greek iconography (the Tyyannicides, in particular) - barely any overlapping or shading - emphasis given to diagonal lines and contours - results in little sense of space |
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Stag Hunt Mosaic Fourth Century (400 - 300 BC) House of the Abduction of Helen, Pella, Macedon Mosaic: - pebble floor mosaic - earliest of 4th century mosaics - signed by artist, Gnosis - pebbles much more closely packed and uniform in size - subject - royal activity (hunt theme) Features: - colours other than black/white used - yellows, browns, reds highlight important details and contribute to shading - outer border - wave pattern - inner border - riotous, curling floral pattern framing central scene - comparatively small figured panel in middle surrounded by dense patterned foliage ("emblem") - more definition/shading - illusionistic effects of mass/space - light figures against dark background - musculature modelled by shading - varied views of body confidently displayed - contours strengthened by strips of terracotta/lead |
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Plan of the Parthenon, by Iktinos & Kallikrates & Phidias High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Parthenos: - "virgin" - dedicated to Athena the Virgin (Temple of the Athena Parthenos, another name for it) - shrine of Athena Ergane ("Athena the Worker") incorporated into north peristyle of building - Athena Ergane's interest in the work of all sculptors/masons was indispensible (especially on the Acropolis) - the building's just one giant sculpture about the glory, power, and greatness of Athens - the building accounts survived - thus can pin events to specific dates (only building where we have full account) - architects - Iktinos, Kallikrates, Mnesikles - foreman sculptor - phidias (supervised sculptural decoration of entire building, contributed most heavily to new style and intentions) - so expensive, money used from communal treasury of Delian League - entirely made of Pentellic marble from Mount Pentelos + lots of metal attachments and sculptures + massive cult statue Structure: - largest Doric temple - most perfect, thus last major Doric temple constructed - regarded as epitome of Doric order - more optical refinements than on any other building - architects realized this was as far as they could take the Doric order (they can't make it any better) - includes Ionic elements - four interior Ionic columns + interior Ionic frieze (beginning of transition to Ionic order) - viewing angle (3/4 view) - max impact, can see width/length at same time - 8 x 17 columns - follows formula - columns - longer, thinner, straight edged cone for echinus - cella - double-storied interior Doric colonnade surrounding statue - opisthodomus - four Ionic columns (where Athena's money was kept) - shallow front/back porches (each with six columns prostyle) - allows space for generous cella and opisthodomus - no altar - as much a treasury as it was a temple Features: - square metopes - as opposed to Archaic ones - 92 metopes - metaphors for conquest of the barbaric by the civilized (served as reminder of Greeks' mythical past + recent successes) - running Ionic frieze - throughout cella, opisthodomus, and porches - commonality - makes it very easy for eye to follow - bulk - reduced by decreasing height of emblature Optical Refinements: - virtually no straight lines in entirety of building - everything's slightly curved (would rather have it look straight than actually be straight) - visually creates perfectly straight building - tries to get away from strict blockiness of right angles - imparts sense of mobility to "straight" lines (avoids box-like appearance) - entasis - placing bulge in middle of column in order to visually create straight column - inward lean - columns lean inward slightly from bottom to top - antae lean outward - outward columns have slight lean falling away from building - stylobate curvature - natural bow in foundation/stylobate so that it falls away slightly either side from its centre in slow curve (bow must be carried up through columns/roof) - architrave curvature - angle contraction - varying of spacing between triglyphs ever so slightly to solve counter-intuitive triglyph rules Figures: - Severe style - replaced with often uniform representations of young men/women who share similar physical traits - youths - same head type, small mouth, big eyes, unbroken profile-line of nose/brow, inattentive expressive, uncombed hair - expressions - distant, otherworldly mood (urge to fuse real with ideal - characterizes this period) - musculature - complicated - anatomy - accurately shown, naturalistic movement - drapery - more deeply carved, greater sense of light/shade (Chiaroscuro), sweeps vigorously against body to let viewer sense limbs beneath - front plane - limbs pushed out past front plane of pediments - sculptors - sought to express ideal of youth/beauty acceptable to and shared by the gods (gods shown in human form) - through past exploits + recent defiance of Persians - Athenians and their heroes seemed to share in the divine |
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Plan of the Parthenon, by Iktinos & Kallikrates & Phidias High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Parthenos: - "virgin" - dedicated to Athena the Virgin (Temple of the Athena Parthenos, another name for it) - shrine of Athena Ergane ("Athena the Worker") incorporated into north peristyle of building - Athena Ergane's interest in the work of all sculptors/masons was indispensable (especially on the Acropolis) - the building's just one giant sculpture about the glory, power, and greatness of Athens - the building accounts survived - thus can pin events to specific dates (only building where we have full account) - architects - Iktinos, Kallikrates, Mnesikles - foreman sculptor - Phidias (supervised sculptural decoration of entire building, contributed most heavily to new style and intentions) - so expensive, money used from communal treasury of Delian League - entirely made of Pentellic marble from Mount Pentelos + lots of metal attachments and sculptures + massive cult statue Structure: - largest Doric temple - most perfect, thus last major Doric temple constructed - regarded as epitome of Doric order - more optical refinements than on any other building - architects realized this was as far as they could take the Doric order (they can't make it any better) - includes Ionic elements - four interior Ionic columns + interior Ionic frieze (beginning of transition to Ionic order) - viewing angle (3/4 view) - max impact, can see width/length at same time - 8 x 17 columns - follows formula - columns - longer, thinner, straight edged cone for echinus - cella - double-storied interior Doric colonnade surrounding statue - opisthodomus - four Ionic columns (where Athena's money was kept) - shallow front/back porches (each with six columns prostyle) - allows space for generous cella and opisthodomus - no altar - as much a treasury as it was a temple Features: - square metopes - as opposed to Archaic ones - 92 metopes - metaphors for conquest of the barbaric by the civilized (served as reminder of Greeks' mythical past + recent successes) - running Ionic frieze - throughout cella, opisthodomus, and porches - commonality - makes it very easy for eye to follow - bulk - reduced by decreasing height of emblature Optical Refinements: - virtually no straight lines in entirety of building - everything's slightly curved (would rather have it look straight than actually be straight) - visually creates perfectly straight building - tries to get away from strict blockiness of right angles - imparts sense of mobility to "straight" lines (avoids box-like appearance) - entasis - placing bulge in middle of column in order to visually create straight column - inward lean - columns lean inward slightly from bottom to top - antae lean outward - outward columns have slight lean falling away from building - stylobate curvature - natural bow in foundation/stylobate so that it falls away slightly either side from its centre in slow curve (bow must be carried up through columns/roof) - architrave curvature - angle contraction - varying of spacing between triglyphs ever so slightly to solve counter-intuitive triglyph rules Figures: - Severe style - replaced with often uniform representations of young men/women who share similar physical traits - youths - same head type, small mouth, big eyes, unbroken profile -line of nose/brow, inattentive expressive, uncombed hair - expressions - distant, otherworldly mood (urge to fuse real with ideal - characterizes this period) - musculature - complicated - anatomy - accurately shown, naturalistic movement - drapery - more deeply carved, greater sense of light/shade (Chiaroscuro), sweeps vigorously against body to let viewer sense limbs beneath - front plane - limbs pushed out past front plane of pediments - sculptors - sought to express ideal of youth/beauty acceptable to and shared by the gods (gods shown in human form) - through past exploits + recent defiance of Persians - Athenians and their heroes seemed to share in the divine |
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Parthenon, West Pediment High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Athena vs. Poseidon: - Athena and Poseidon both wanted to be patron god of Athens, so each gave gift for citizens to judge which was better - Poseidon struck ground with trident - sprouted salt spring - Athena struck ground with spear - sprouted olive tree - shows how Athens is favourite city of the gods Features: - olive tree in centre behind Athena and Poseidon, who fall away in opposite directions - "X" arrangement - outward movement contained by chariot groups behind them - difference of figures from pediments of Temple of Aphaia - actual twist in back, drapery gives strong textural contrast, bigger/bulkier, upper half of torso looks like it slots into lower half - no psychology in images Kekrops and Daughter: - Kekrops, early king of Athens - identified by coiled snake beside him - daughter leans off him as she shrinks from awe-inspiring central incident River Ilissos: - reclining figure - personification of Attic river Ilissos |
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Parthenon, Kekrops and Daughter - West Pediment High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Features: - Kekrops, early king of Athens - identified by coiled snake beside him - daughter leans off him as she shrinks from awe-inspiring central incident |
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Parthenon, River Ilissos - West Pediment High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Features: - reclining figure - personification of Attic river Ilissos |
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Parthenon, East Pediment High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Birth of Athena: - Athena came from Zeus' head fully formed - she was never actually born, sort of just always there - Athenian mythology - Athenians never came from anywhere else, they had always been there (born in Athens) - Athena came from Zeus' mind - alludes to how cultured Athenians are - moment right after birth - not much activity, but contrasts ignorance with realization as figures demonstrate awareness of event through measured physical responses Features: - Zeus and Athena in centre falling away in opposite directions - "X" arrangement - interest/excitement gather momentum toward centre - one corner has chariots of sun/Helios, other corner has chariots of moon/Selene - shows eternity of scene + depicts time of event (dawn) as sun rises above floor/horizon and moon sinks beneath it - drapery - deep cuts, elaborate folds (shows new skill) - Chiaroscuro - interplay between light and shadow (created from pockets of light) - garments - fall flat against knee, then bunches between legs Reclining Male: - Dionysus? Ares? Herakles? - Personification of Mount Olympus? - to specify place (just as time had been specified) - gazing at sun, unaware of Athena's birth - impassive, idealized form - for gods - Chiaroscuro Three Goddesses: - three figures seen together - complete novelty - Hestia, Dione, Aphrodite? - relaxation and revitalization side by side - one reclines in another's lap as third turns slowly toward centre - thin crinkly chitons - pressed tight against upper bodies (reveals contours of breasts) + long flowing lines of folds of mantles over legs (produce continuous rhytmic effect) - Chiaroscuro |
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Parthenon, Reclining Male - East Pediment High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Features: - Dionysus? Ares? Herakles? - Personification of Mount Olympus? - to specify place (just as time had been specified)- gazing at sun, unaware of Athena's birth - impassive, idealized form - for gods - Chiaroscuro |
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Parthenon, Three Goddesses - East Pediment High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Features: - three figures seen together - complete novelty - Hestia, Dione, Aphrodite? - relaxation and revitalization side by side - one reclines in another's lap as third turns slowly toward centre - thin crinkly chitons - pressed tight against upper bodies (reveals contours of breasts) + long flowing lines of folds of mantles over legs (produce continuous rhytmic effect) - Chiaroscuro |
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Parthenon, Centauromachy - South Metope High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece History: - much of centre lost to explosion when Turks kept gunpowder in Parthenon (at the time used as mosque) Features: - dominated by tension of fight and drapery folds forming backdrop for human torso - advanced musculature - all the bodies look big and extra muscular - lots of movement - "X" arrangement (theatrical) - all painted (blue, red, yellow) - highlighting everything in order to make it easier to see - Pentallic marble - glows almost pink in fading light |
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Parthenon, Varvakeion Statue, by Phidias High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Cult Statue: - original chryselephantine; Roman copy marble (vastly reduced image - no sense of glittering gold in contrast with ivory flesh) - Athena Parthenos dedicated by Phidias History: - destroyed during fire in Parthenon - our knowledge comes from literary descriptions and reduced copies |
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Parthenon, Plan of Ionic Frieze High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Panathenaic Procession: - series of idealized images of Athenians taking part in procession - men engaging in sports, animals being sacrificed, gods watching overhead, girls weaving peplos for Athena, cavalry - function - symbol of Athenian cultural achievement - timeless, not time bound - represents past and continuing greatness of Athens (eternal, all-encompassing - retrospective and prospective) - events aren't simultaneous - W precedes procession, Peplos Incident in E takes place after - combines past (time before procession), present (time during), and future (time after) in single tableau - representation of specific Panathenaia or ideal representation of all such processions? - subtle argument to place "actual" Athenians on temple - representation of mortals - audacity of sculptors to include Athenian figures in the company of gods (claimed that Olympians lived among Athenians, doubtless drawing anger of other Greeks) - size + complexity - suggest singly designer (Phidias), execution with many sculptors Features: - narrow pronaos - leans slightly outward, so it can be seen - although height makes it almost impossible to be seen anyway (suggests entire frieze may have been afterthought, not contemplated in original design) - upper parts carved in higher relief - improves visibility - brightly painted + many metal attachments (weapons, harnesses) Figures: - riders take up 50% of the frieze - all gods - little bigger (more powerful) with emphasis on drapery - humans - rounded skull, large eyes, small mouth, straight nose, distant expression - horses - some dancing/prancing rather than all rearing - variety - achieved by contrasting human limb/horse's flank, drapery/flesh, etc. - overlapping - suggests recession in space (depth) North/South: - cavalcade - overlapping, shallow relief - riders preceded by chariots, which are preceded by many more figures (elders, attendants, musicians, sheep) |
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Parthenon, Riders - West Ionic Frieze High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece West: - 13 horsemen preparing themselves for cavalcade Features: - pose, gesture, dress, hairstyle, hats - all varied - horses - prance, rear - all four hooves off ground + riders' cloaks flying out behind - sense of forward motion - drill holes - shows where metal reins/bridles were attached Frieze Figures: - all gods - little bigger (more powerful) with emphasis on drapery - humans - rounded skull, large eyes, small mouth, straight nose, distant expression - horses - some dancing/prancing rather than all rearing - variety - achieved by contrasting human limb/horse's flank, drapery/flesh, etc. - overlapping - suggests recession in space (depth) |
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Parthenon, Seated Gods - East Ionic Frieze High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece East: - women moving slowly forward from either end toward centre, meeting group of male officials apparently awaiting their arrival - first appearance of women in the frieze Features: - twelve seated Olympian gods - six on either side of central incident - larger scale than standing Athenians on either side - shows power of gods - outermost gods - turn to watch procession - gods closest to Peplos Incident - turn backs on scene - Poseidon, Apollo, Artemis - seated on stools (only Zeus has throne) - slightly overlapping one another - legs placed in front of furniture gives sense of space Figures: - all gods - little bigger (more powerful) with emphasis on drapery - humans - rounded skull, large eyes, small mouth, straight nose, distant expression - horses - some dancing/prancing rather than all rearing - variety - achieved by contrasting human limb/horse's flank, drapery/flesh, etc. - overlapping - suggests recession in space (depth) |
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Parthenon, Peplos Incident - East Ionic Frieze High Classical Period (450 - 400 BC) Acropolis, Athens, Mainland Greece Figures: - centre - five figures - one side - two young women - central figure - Priestess of Athena - other side - man (Royal Archon? Priest of Poseidon?) receives garment from boy - garment - peplos woven and presented every four years at Panathenaic Festival for/to Athena - Erechtheus (early king of Athens) had to sacrifice his virgin daughter to ward off enemy army - suggests small figure's a girl and garment's a shroud? (interpretation met with little scholarly approval) Figures: - all gods - little bigger (more powerful) with emphasis on drapery - humans - rounded skull, large eyes, small mouth, straight nose, distant expression - horses - some dancing/prancing rather than all rearing - variety - achieved by contrasting human limb/horse's flank, drapery/flesh, etc. - overlapping - suggests recession in space (depth) |
