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179 Cards in this Set
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High Classical Pericles -Not exact portraiture -Rules Athens -Role model of what it is to be agreat leader -Simply controlled this area throughpersuasion (did not have a title of king) -He wanted to crush sparta |
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High Classical -TheAcropolisParthenon (447-432) -Propylaia (430’s-406)#3 -Erechtheion (437-432) #2 -Temple of Athena Nike (420’s) -Era of peace -Peracles wanted to rebuild Athens -Acropolis was in ruins, he wantedthat to look like an Empire -He builds the most influentialbuilding: Parthanon, most copied building. -Peracles was not an artist, he was a polititian -Parthenon: biggest temple inantiquity -Micanean citadel, turned into religiouscenter with strong political aspect |
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High Classical -Parthenon(447-432) -Chief architect Iktinos(Athenian) and Kallikrates (Ionian), took orders from Phidias. -Most influential building inantiquity -Prone to collapsing -Survive catastrophes -First templethat was both Doric and Ionic (This is not a temple, it has beenmisidentified), not sacred it was a political structure. -There should have been an alter infront if it was a temple |
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High Classical -Golden ratio 1.6 -Reflection of perfection -Take square out of rectanglerepeatedly -This ratio is repeated all over theparthenon -Mathematical harmony, repeatedperfection |
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What are the 3 theories? |
High Classical -Compensation theory: optical illustion -Vitruvius studied calacrotisus’ notes that talks aboutcompensation -Meant to symbolize sturdy empire(durability) -Straight lines would make it looklike its about to collapse, so they compensated -Exaggeration: meant to makeit look like its bigger than it really is -Tension: creating mentaltension, makes you think how can stone change from far to close |
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High Classical -Parthenon -SouthMetope, Lapith andCentaur447-438 -Lapiths win -Closer to 438 -the more sophisticated they are,the later they were made -This one was higher relief -Well balanced, implied motion toleft and right creating an X |
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High Classical -Parthenon -misbalanced -Too much motion on the right -Early metope |
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High Classical -Parthenon -west pediment -“TheContest between Athena and Poseidon” -Gift by Athena (olive tree) -Birth of the tree in the middle -Kept the theme from the previoustemple |
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High Classical -Destroyed pieces on the pediment -wind drapery: phidias popularizes it -He is coming as close as he can toshow the female form without getting in trouble |
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High Classical -Parthenon -Personificationof the river Ilissos437-432 BC -Human representation of region -Almost looks like flowing of water |
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High Classical -Parthenon -Heliosand Selene -Eastern pediment -Phidias carved this side -Most important part of Parthenon -The central artwork was taken out,was the birth of Athena -Show implied time, passage of time(phidias tried to accomplish time), messanger goddess bringing news of birth ofAthena (on left) figures turn inwards whenthey heard news |
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High Classical -West frieze, 3 ft6 in -Panthenaic procession: historical event,games, competition, every year, but every 4 years there was a procession (raceto the acropolis toward the erecthion) to change the clothing of woodenstatue of Athena. -Statue of Athena and historicalprocession was proof it wasn’t a temple structure |
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High Classical -Parthenon -East frieze -changing of the peplos -Gods on left, larger, Athenians arehanging out with the gods -Priestess for athena were held athigher status |
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High Classical -Parthenon -Athenians got their meat from the sacrifices -Religious ceremonies were the only places they ate meat |
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High Classical -Parthenon -Varvakeion statuette -Roman copy -Aegis crown: symbol of Athena -No one actually knows what it looks like -Military protection under Athena -Created by Phidias -Statue is gone, destroyed -Victory figure (military victory) and shield |
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High Classical -Parthenon -Athena Parthenos, 438 BC -Phidias carved it, 39 feet tall -Reconstruction -Gold and ivory -Second story to see the statue fromabove eye level -Purpose: showplace for Athenastatue, shows the wealth of Athens -Proof this wasn’ta temple: Pericles was going to melt athena statue if they ran out of moneyduring the war, and no one opposed because it wasn’t a religious statue. -A bank? |
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High Classical -The Propylaia, c.437-432 -Mnesikles designed this, student of architects of Parthenon -never finished -Side rooms were art galleries withpaintings -Maybe it was never finished becausethe war dragged on |
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High Classical -The Propylaea -Did not have sculptures in metopes -Middle space was wider to make roomfor carts and chariots -Ramp in middle instead of stairs -Partenon was hidden to ppl inside the Propylaea |
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High Classical -Signatures of people that worked on the structures at the Acropolis |
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High Classical -Templeof Athena Nike, 420’s -Tetrastyletemple: 4 columns on each side -Treasury -Wall on 3 sides -One of last structures to befinished -Athens was losing , so they builtthis to get Athena on their side, desperate cry for Athena Nike (goddess ofvictory) -There was a statue of Athenawithout wings, so she could never leave Athens again, they thought they couldcontrol the gods -Ionic order -Pantelic marble: yellow tint |
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High Classical -Templeof Athena Nike -Nike adjusting her sandalc. 410-405 BC -Balustrade or Parapet: small sacred boundary around the temple about 3fttall -Wall with nike figures -Wet drapery |
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High Classical Erechtheion, c. 430-406 BC 1.Wooden statue of Athena, gift to Athenian ppl from Athena -North porch where Poseidon stood -South porch where Athena stood,olive tree in between -Most sacred building on Acropolis -Ionic -Dedicated to Athena and Erectheos -Burial site of Ancient King Erectheos (half human half snake) -Porch of cariati, symbolize sacred ground -Athenians are children of Erectheos -Snakes lived here in honor of Erectheos -Underground rooms for storage -First olive tree! |
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High Classical -Southporch of Erechtheion -Porch of theMaidens -Original caryati are not thereanymore, they were taken -These are cement -Pollution is eating the marble, sothey move the most important objects into more secure area -Northporch -Hole in floor: trident marks |
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High Classical Hephaisteion c. 450-415 BC -One of the best condition temples today -A smaller replica of the Parthenon -450 started construction, stone says the commencement date -Dedicated to Hephaisteion, god of bronze makers -Has a running freeze like the parthanon, now more acceptable to have different orders in one temple -Double story -Maybe had a colossal statue |
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High Classical -UnfinishedDoric templec. 430-420 BC -Temple that never got finished -Shows us the process of building,built outer columns first |
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High Classical -Akroteria of atemple, Locri,Italy -the Dioskouroi dismounting, c. 420 -Akroteria: sculptures that went on the roof -Dioskouroi: sons of Zeus, great horsemen -Mermen, children of Poseidon -Also found on mainland Greece 2nd Image -Sphinx under horse |
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High Classical -Doryphoros “SpearBearer” -Polykleitos -from Pompeii, over 50 copies made -“Walking stance” original c. 440 BC -Argos: bronze producer, where Polykleitos was born -human body is the perfect mathematical formula -He embedded the mathematical proportions into his sculptures, harmony in his pieces -Original would have been a bronze -Embraces high classical characteristics |
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High Classical -Diadoumenos“Diadem-bearer” -Polykleitos -from Delosc. 430 BC -Best example of Polykleitos sculpture -Diadem: headband |
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High Classical -Nike An Acroteria(?) -Paionios: sculptor -Battle of Messenians (Spartans beat Athenians) -from Olympia c. 420 BC -Wind drapery: created by phidias on Acropolis |
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High Classical CatStelefrom Aeginac. 430 BC -Outlawed these -Individualistic -Rise of importance of individualpatron -Grave stele stones -Lack of scale relationships |
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High Classical -Grave Stele of Hegeso from Athens c. 400 BC -Made for a woman named Hegeso -Bad scale relationship, maybe to emphasis she is more important -Break the classical rule -Admiring her jewelry before she dies -Architectural framework -Wet drapery -Her torso is ¾ view, typical for high classical |
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High Classical -GraveStelefrom Athens -“For Ampharete andhergrandchild”c. 410 BC -Body is ¾ view, profile face -Wet drapery |
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High Classical -Stele of a Youth c. 420 BCE -Seated position for both females and males -Holding a scroll? -Saying goodbye to his possessions |
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High Classical -Grave stele of Khairedemos and Lykeas -generally, women would be in the seating position and men were standing, but there are exceptions -Means women were supposed to work indoors, while males were outside farming or fighting in wars -They are honored as heros, we don’t know why one is nude and one isn't -The right guy is in the walking stance -¾ view -Walking stance: high classical or later |
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High Classical -Growing interest in movement and drama -Rearing of horse, influenced from pantheanaic freeze from parthanon |
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High Classical -Atwo-sided votive relief of Echelos and nymph Basilec.410 -Votive offering for local mythologyfigure -Set on top of a column -Rearing, charging horse pullingchariot -Influenced from Parthenon |
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High Classical -Atticwhite-groundoinochoe -Line technique -attributed to theBrygos painter -Woman spinningc. 490-480 BC -from Athens -Pottery is slowing down in mainlandGreece and moving to Italy and Sicily -Athenian artisan -Late archaic, but didn’tcatch on till high classical -Artisans need to be unique -Brygos came up with white-groundtechnique and introduced the line technique, this technique didnt catch on until high classical |
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High Classical -Atticwhite-ground lekythos -Seated woman in front of a tombc. 410-400 BC -White-ground was very popular inlekythos vessels -Lekythos: olive oils for funerals,funerary vessels-Added line technique, but then fillit in with encaustic paint, they didn’t have different colors in glazes, sothey painted with encaustic -Idea of what paintings would havelooked like |
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High Classical -Achilles painter -Artisan who liked to do the image of Achilles -Lekythos: funerary oil -Paint survives on one female |
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High Classical -AtticWhite-ground krater,Dionysos, andNike, c. 440-430 BC -Not all Attic white-ground were onlekythos -Athens -Hermes introducing Dionysos to king of gods |
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High Classical -Atticred-figure amphora -Achilles painterc. 440 BC -Berlin Painter style -Polykleitanstance (walking stance) -Red figure is still around -Stage like forms with blackbackground (Berlin painter style) -artisans are borrowing ideas frompast artisans instead of innovating styles |
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High Classical -Tithonus and Eros -Black glaze technique -Red figure -Pursuit of individual for sexual desire |
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High Classical -Hydria -attributed to the MeidiasPainter -Herakles, and Hesperides -Rape of the daughters of Leucipposc. 410-400 BC -Seduction scene, love affair -See a lot of this in the highclassical instead of images challenging the gods -We are now in the heart of the Peloponesian war, so they are trying torepresent humor, an escape from the horror of the war |
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High Classical -Blackgloss tableware5thcentury -More pots are looking like thiswithout narratives -Narratives are being lost in Athens -Only functional uses 2nd Image: -CoarseWarecooking pots and portable stoves -No glazing, more for function -Moving away from artistic pots |
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High Classical -Transportamphoras -Top; Lesbos -Middle; Mende -Bottom; Thasos -Transportamphoras were everywhere |
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High Classical -SouthItalian red-figure -Cyclops Painterc. 420-410 BC -Italy -Still have narratives in Italy and sicily -Greeks still want these narratives,so other regions had opportunities to be the center of the narrative potterymarket -Influenced by Nobid painter (perspective, depth, foregroundand background) |
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Late Classical -Templeof Apollo, Bassae -attributed to Iktinos c. 430-390 BC -“Baseisolation”: layer of clay betweenthe bedrock and structure to help earthquake-proof it -Architect: Iktinos, also architect of the Parthanon -Made out of local material -Dedication to death, memorial,reference to the plague -Thanking gods for survivors of thePlague -Hypocratic oath: my medicine is my food andmy food is my medicine, if you live a healthy life you live a long life.Illnesses are not divine 2nd Image: -Architects experiment -New order: Corinthian capital incenter -Corinthian was connected to deathand then it gets adapted into drama/plays -Corinthian capital is evidence ithad to do with death -Dedicated to Apollo -Has a running frieze on inside of cella so we could see it easier, ioniccombined with doric and corinthian -Gap above cella columns to bring in natural light? |
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Late Classical -Comes from Corinth -Ornate feeling of organic plant -Acanthus is organic plant thatgrows in Greece -Legend: architect walking in corinthian cemetery and saw a gravesite withofferings and basket, acanthus growing in basket pushing up block of wood, thisis where he got the idea of the corinthian column, thats why it symbolises funerals |
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Late Classical -Temple of Apollo -Greeksand the Amazons -Lapiths and the Centaurs -Newtype of ionic columns with spirals on 3 sides instead of just one side |
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Late Classical -Temple of Apollo, Bassae Frieze Greeks and Amazons -Theme: story of Greeks and Amazons -analogy of cruelty of war, warfare isnt glorious -Focuses on brutality rather than glorification of heros -Amazon woman on right -Drama -Pyramid shape, archaic form from Exicas -Drapery doesn’t flow elegantly, more representational of how it would look during war -First time women shown in war? -Hired local sculptor, stalky and heavy bodies |
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Late Classical -Sanctuaryof Asklepios (son of Apollo) -4thcenturyEpidauros: center -place to go if one was ill -Epidauros would heal you in your sleep -power of the mind, placebo? |
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Late Classical Tholos,Epidaurosc. 360-340 BC -Polykletos theyounger -Tomb ? -Tholos: round shape -Polykletos the younger: sculptor andarchitect, designed this building, may not be related to polykletos the sculptor |
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Late Classical -Epidauros,3rd century BC12,000 capacity -Polykletos may have created this -Evolution of the theater -Look for natural formation tocreate a theater -Lower seating was for the wealthy -Great acoustics -Also for ritualized performances |
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Late Classical -Monument of Lysikrates 334 BC -Stories of Dionysius on frieze, god of wine and theater -Trophy: free standing monument dedicated to a victory -Winners could set up trophy for their troop -Lysikrates won -Tholos shape |
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Late Classical Olynthos, the Villa of Good Fortune 4th century BC -Town: olynthos, child of parakles -Philip destroyed this city -First wealthy homes we see: villa -Wealthy individuals start spending their money on themselves, moves from city-state to world revolved around the individual -Shift: artisans work for individuals rather than the city-state -First room decorated was the dining room, showing off wealth |
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Late Classical Villaof good FortuneOlynthosPebble mosaic, 4thcentury BC -Pebble mosaic: made of pebbles fromriver bed-Wet moarder -Only floor mosaics -Dionysus in center, great warriorin the east, this individual wants to be seen like Dionysus |
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Late Classical Olynthos, Bellerophonriding Pegasus, attacking the Chimaera 4thcentury -Pebble mosaic -Chimaera: mythical creature with 3heads -Bellerphon killed the chimaera |
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Late Classical Priene,4th century -Center -Built on hillside for defensivereasons? -Theater and temple inside of cityfor protection-Reflects the acropolis |
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Late Classical -Megaronhouse, has central herth -Wood homes -Wealthier homes made of stone -Courtyard in front -Looks like little temple orsanctuary |
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Late Classcial -AthenaPolias, Prienec. 340 BC -Ionic -Temple at top of the hill -Dedicated to Athena Polias: goddessthat protects the city from outside invasion |
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Late Classical Priene -Theater -Stage looks like a city scape -Urbanization -Cities grow in population -Have a wall to break off sound andpeople behind -Prototype of roman temples |
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Late Classical Mausoleum, Halikarnassos 350-340 BC52 x 42 Yards -tomb -Persian -Mausoleum for a man named mausolos, where we get name from, he was a persian governor -Tomb -Best greek artisans -Shows greek culture was conquering Persians before Alexander the Great -Statues of mausolos -Pyramid shape |
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Late Classcial TheNereid Monument c. 400-30 BC -Movement of mausoleums -Colt of individual -Not going to see these in Athens |
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Late Classical -Stylized -Persian style, not completely Greek -Perisians tended to like abstractedforms |
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Late Classical Greeks and the Amazons c. 350 BC -Themes created by Greek artistans -Skopas: sculptor,deep set eyes, twisting body, emotional stories |
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Late Classical Greeksand Amazonsc. 350 BC -Skopas -Ugly nature of warfare -Analogy of Greeks beating thePersians -Twisting body, deep set eyes |
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Late Classical From Mausleum Halikarnassos c. 350 BC -Maybe mausolos himself -Stood in center next to his wife -Greek drapery and stance -Hair style is Persian -Persian looks like a Greek 2nd Image: -Mausolus andArtemisia -Compositional balance with knees -Not 100% sure it is Mausolus |
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Which artist? |
Late Classical Antikythera bronze c. 350 BC -Perseus ? -Original bronze -May be holding head of Madusa (perseus) -If he’s holding an apple (its Parits) -Open composition: More engaging bronze -Proportion of body is longer, head looks smaller, shifting waist -The Praxileles S shape |
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Late Classical Marathonboyc. 340 BC -Proxiteles S shape -Polykleitos walking stance, but moreexaggerated -Open composition: engaging theworld around him in a more naturalistic way |
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Late Classical Athena c. 350 BC -heavier, visual weight -Open composition -The right arm is adjustable -Goddess of warfare because of her helmet -War theme, but she doesn’t have a spear, war imageries start to change in the beginning of late classical, like Athens doesn’t want war anymore |
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Late Classical -Eirene holding the child Ploutos (wealth) -Kephisodotos: artisan, father of Praxiteles c. 370 BC -Before Praxiteles -Idea of peace -Eirene: goddess of peace, new goddess emerged -Peace =prosperity -Child is a personification of wealth |
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Late Classical -Storyof Hermes (adult) and Dionysos (baby), sibling relationship -Hermes took care of Dionysos -Hermes is picking on Dionysos, holding grapes -Dionysos is god of wine -Praxitelesc. 340 BC -found in Temple of Hera,Olympia -Longer body, reduced head,Praxiteles S shape -Is not an original because the backisnt finished-Praxiteles worked in marble andbronze -He introduces the genre of theGods, what the gods do on their time off, he is humanizing the gods |
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Late Classical -Could be an original Praxitelesbecause Romans wrote about it -Stylistic qualities of aPraxiteles: Softness to the facial features, blurry, delicate -Each artist stands out because oftheir qualitites |
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Late Classical -Praxiteles -Story of Apollo Sauroktoos (giant python) c. 350 BC -Genre scene, kid picking on a lizard -Original story was a heroic, but it doesn’t look heroic -Open composition: engaging with outside world |
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Late Classical Aphroditeof KindosPraxitelesc. 350 BC -Most influential piece -This was rejected because females werent allowed to be in the nude -He made a replica with clothing -Praxiteles broke the barrior of the nude, breaks taboo -She is not in the heroic nude,genre of Aphrodite -Starts becoming normal to createfemale nude -Changing society, Athens just wentthrough Peloponnesian war, population of males decreased -Females maintained the land whiletheir husbands were at war, males die at war, so women are more activelyinvolved in society, shift of women having more rights, authority. -This is not a version, but aportrait of her, this was probably a portrait of his lover |
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Late Classical -Another aphrodite copy influenced by Praxatelis -Aphrodite on coins |
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Late Classical -Templeof Athena Alea, Tegea, c. 340 BC -Skopas of Paros -Cannot be sure which are sculpturesof skopas -Major temple, he worked as thearchitect, he designed this temple -Corinthian with ionic stack columns -People come here when they were indanger of exile, some were saved -No documents say he was thesculptor |
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Late Classical -Temple of Athena Alea, Tegea, c.340 BC -Skopas -Original Skopas sculpture -Deep set eyes, intensity,concentration -Maybe Apollo -Skopas is most emotional sculptorof late classical |
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Late Classical -Temple of Athena Alea, Tegea, c. 340 BC -Telephos -Telephos is the son of Herakles -Skopas artisan |
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Late Classical -Temple of Athena Alea, Tegea, c. 340 BC -Akroterion -Body twists: introduced by Skopas |
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Late Classical Meleager story -Skopas c.340 BC -Twisting cork screw body -Mouth is slightly parted, adds emotion |
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Late Classical -Lysippos (350-310 BC) -The Scraper (Apoxyomenos) -Combined skopas and proxatelis ideas -S shape, twisted body -Copy -He worked in bronze -Most influential pieces -Genre piece of mortal man scrapinghis body with a strigo, he is an athlete -Athletes rub their bodies witholive oil and after they would scrape off olive oil, this is what he is doing |
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Late Classical Pothos? 340 -Grandson of Aphrodite -Twisted body, skopas stylistic trait -We don’t know for sure who made this |
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Late Classical -Athlete -Delphibefore 332 -Lysippos |
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Late Classical Scraper from Ephesos -Bronze copy of Lysippos |
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Late Classical -Lysippos -Herakles -Copy of Herakles -Twisting body and S shape -Trying to get personality ofHerakles with the over life size body -Genre scene: resting on his cloakand club |
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Late Classical -Lysippos -Copy of series of Herakles -Holding out wine cup -Herakles drank too much wine |
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Late Classical -Headof Alexanderc. 330 BC -Life casts -Lysippos did portraits of Alexander thegreat in bronze but they are all gone -Could be a copy of an originalpiece, but we don’t know |
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Late Classical -Alexander on the coins -Minted by his generals afterAlexander dies in Babylon -Wearing a headdress saying he’s sonof a god |
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Late Classical -Alexanderwith the god Amun -Done when Alexander was alive -He became first Greek Pharaoh -He took over Egypt -Last official pharoah was cliopatra, descendent of a Greek, she’s Greek |
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Late Classical -Grave Stele of Dexileos -War imagery start to change -Athens is becoming less important artistically -Athens ceases to be the center of the arts, Alexander is the center of the arts and he loves warfare, so art now shows warfare -I only fight the best of the best, showing enemy in heroic nude |
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Late Classical -Ilissos Stele -Skopas (?) c. 330 -High relief closer to 310, but then stele stones end at 310 -High relief was status symbol -Narrative of grief and sorrow -Nude youth is the one who died, eye contact with us, twisted body -His son is on the bottom left -No two people grieve the same way, Skopas shows grief differently -Father on right, grieving differently, father isnt supposed to bury his child, contemplaing logic of outliving his son -Psychological analysis |
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Late Classical -Gravestoneof Demetria and Pamphilec. 320 BC -Very high relief, almost sculpturein the round -Shadow box -Two sisters -Made while they were alive -Assume the hands were holding eachother, but they changed it when one of them died because the bond was broken |
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Late Classical -Electraand Orestesat the tomb of Agamemnonc. 300 BC -Southern Italy -Stele stones move to Italy andbecome artistically active, but end in Athens because it becomes outlawed -Mourning the death of their father |
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Late Classical -Alexander Sarcophagus, c. 320 BC -Abdalonymos,King of Sidon -Turkish coast, ionian coast, not seen in Greece or Italy -Mythologies of deaths, heros, or historical even -King of sidon: on ionian coast, fought in battle of isias with Alexander -This shows battle of Isias -Alexander the Great on the left, made after he died -Side of previous coffin -Hunt scene: leisure life of ruling elite -Coffins werent buried under ground, they were left above ground |
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Late Classical Detailof the Alexander Sarcophagus -Crown of god with horns -He claimed to be a living god -He said he was son of Apollo -Absorbing eastern cultures, createsposition of authority -After him, kings claim they are descendents of gods, they are literally gods |
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Late Classical -AtticRed-figure cup -Meleager Painter -Dionysos c. 390-380 -Athenian pottery is dying outbecause people want gold and silver pots -Elongated almost s shaped -Sculptors are influencing pottery |
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Late Classical -Attic red-figure -Marsyas Painter -story of Peleus and Thetis -love story c. 360-350 -Experimentation white ground (painted after fired) with red-figure -the encaustic was lost -Mixing different elements -Shy away from warfare |
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Late Classical -Attic Panathenaic amphora -Athena -Inscription: Niketes, overseeing the games -all pots made during his reign had his name on them c. 332-331 BCE -Trophy pot giving during pantheanaic games filled with olive oil |
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Late Classical -Southern Italy -Illioupersis Painter -A funeral vessel c. 380-370 BC -New pottery style -Italy picked up where Athenians left off -Decorative, almost baroque -Create a sense of depth -Capturing idea of stele stone but also be like painters -Funerary vessel with funerary theme -Twisted body and S shape -Only in southern italy will they sign their pots, not in Athens -Trying to mimic paintings -Don’t have to remember the artists name |
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Late Classical SouthItalyBaltimore Painter (?)c. 325 BC -Don’t have to remember artsits name -Funeral connection -Decorative, illusionistic imagery -Illusion of depth -interlacing in mosaics |
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Late Classical -South Italy -Assteas: potter, most famous potter in late classical world -Orestes at Delphi c. 350 BC -Theater was popular in southern Italy -Orestes: son of Agonemnon -Delphi was a sacred oracle |
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Late Classical -Python:famous potter -Birth of Helen from the eggc. 350 BC -Theatrical performance -Exaggerated gestures based ontheater |
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Late Classical -Froma Phtyax Play -Comedy relief -Phtyax pot -Emotional seeing plays where peopledie, so they break up the tension with comical plays -Figures seem distorted in theseplays, slapstick performances |
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Late Classical -A Phlyax vase c. 350 BC -by Assteas -Comical relief -he is clinging to his money while people try to take it away -Little evidence that painters painted these comedy plays, so this was innovative for potters |
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Late Classical -AlexanderMosaic, Battle of Issos -Pompeii, Philoxenos of Eretria c. 310 BC (Kassander of Macedonia) -Tesserae stone (250 BC) -Roman mosaic in Pompeii -Copy of a Greek masterpiece who painted the battle of Issos -Alexander on the left -All the armor is accurate, so it has to be a copy because romans didnt use this type of armor -Original painter: Philoxenos, he made it for Kassander of Macedonia |
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Late Classical -Perseusfreeing Adromeda -Pompeii -Nikias(?)4thcentury BC -Roman painting -Shadows, light source, charioscuro -Maybe a copy of Nikias’ Greekpaintings |
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Late Classical -StagHunt -Pella (capital of Macedonia)c. 300 BC -Greeks copied this from someoneelse -Signed “Gnosis” -Rare to know mosaic artisans -Pebble mosaic -Showing drama, shadow, movement,organic ornate |
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Late Classical -Hades carrying off Persephone -Tomb of Persephone -Vergina, Macedonia c. 340 BC -Greek painting -In Macedonia (Northern Greece) -Drama, movement, feels like Italian Baroque -Illusion of trump loit |
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Late Classical -Persephone’scompanion -Tomb of Persephonec. 340 BC -emotion |
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Late Classical -Tomb of Philip III at Vergina c. 340-310 BC -Most famous tomb -Believed to be Philip II now -Father of Alexander the Great -Woman found here, warrior from Persia -Entrance way was covered in an earth mound, why it was protected so well -Hunting scene, landscape, depth |
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Late Classical Larnax (chest)Tomb of Philipc. 340-310 BC -Phillip II bones were found inthere -He was cremated -Plated gold |
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Late Classical -Oakleaf and acorn crownTomb of Philipc. 320-310 BC -Phillip probably wore this -Found in tomb |
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Late Classical -Banqueting vessel -Tomb of Philip c. 320-310 BC |
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Late Classical c.320-310 BCRoyal family (?) -Phillip II!!!! -Attached to a wooden chest -Maybe a portrait? -Ivory -Eye looks hurt |
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Late Classical c.320-310 BC -Alexander the Great, young boy -Emotional, grief over the death ofhis father |
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Late Classical -Pebblemosaic, Lion Huntfrom Pellac. 325-300 BC -Maybe copy of a painter -Identical figures on right -Artisans copied this from the samesource! Amazing! |
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Hellenistic Pergamon3rd-2ndcenturies BC (133 BC) -Flatmountaintop -Theaterthat oversaw the whole town -Badshape, destroyed -Theaterbuilt in the hillside |
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Hellenistic Sanctuaryof AsklepiosKosc. 160 BC -Healingcenter -God:asklepios -Islandof Kos -Sacredpools on bottom for clensing -See mediteranian sea from there -Colossal,bigger is better -Risingof the wealthy class -Templeat top : Elevation of the temple of artemis |
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Hellenistic -Elevationof the Temple of Artemis, Magnesiac. 175 BC64 ft -Hermogenes :potter? -Pseudo-dipteral:has space for 2 columns but doesn’t |
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Hellenistic (Know this one) -Templeof Apollo, Didymac. 330 BC -66 foot columns -Barrel-vaulted -Makesparthanon looks small -Becamea major sanctuary -Forest,maze-like columns, unusual structure -Ionictemple -Doorwith wall without stairs, could only get into temple through side doors |
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Hellenistic (Know this one) -Temple of Apollo, Didyma c. 330 BC -Sacred pond in center dedicated to Apollo, Apollo could talk to worshipers -Alexander starts to rebuild this temple, never got finished -The pond re appeared when Alexander showed up -Plan: dipteral -Tunnels on sides of front to get inside -Two large Corinthian capitals -Stage like form -Performers stand on stage where Corinthian capitals were -Door to staircase to get up on roof -Unusual temple with all these surprises, no other temple was like this, architects were trying new things 2nd Image: -Arch invented in middle east, where Romans got the idea from -Arch is still functional -Arch is better architectural device |
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Hellenistic (Know this one) -Temple of Apollo, Didyma c. 330 BC -Base of one of the columns -Ornate detail, reminds people of a maze |
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Hellenistic -Templeof Olympian Zeus -Athens -Didn’tget finished until Hadrian -Acropolisin background -Corinthian -No stylobate: top step platform -KingAnichos commissioned this temple, wheredrawing the line in the sand comes from -Cossutius: architect, he was a roman |
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Hellenistic -Agora, Stoa of Attalos, he had a structure built after him -Store front to increase the market in Athens -2 stories -doric columns were only fluted halfway to protect it from being damaged from crates going in and out |
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Hellenistic -Agora,AthensStoa of Attalos -Palmcapital: Persian capital |
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Hellenistic -Tycheof Antioch -Eutychides, c. 300 BC -Goddessof Fortune, good luck -Therewere many Tyche -Everyindividual believed they had their own Tyche, like a guardian angel -Definegood luck and bad luck -Latercall her fortuna, where we get the word fortunefrom -Everycity believed they had their own Tyche -Herheaddress is a wall representing the city wall -Bodyis twisting, maneristic, exaggerated, typical in earlytransitional -Holdingcorn to represent plenty and bounty |
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Hellenistic -Demosthenes -Polyeuktosc. 280 BC -Generally what a philosopher would look like -Philosopherfrom Athens -Moreportraits of people -Notidealization, breaks all the previous rules -Looks70, muscles are sagging, representational, capturing his mindset, looks worried -Thisis how philosophers were shown, if youre a political leader you will beidealized, but if youre a philosopher will look like this,stereotype of how they are supposed to look like. |
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Hellenistic -Epikouros,c. 270 BCFounder of Epicureanism -major philosophical idea -looks like Buddhism -to live a happy contented life -objects interfere with happiness -From Athens originally -Philosopher -He came up with the idea of theatom -Greeks came up with a lot oftheories -This could be a portrait of him -This is the way philosophers aresupposed to appear |
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Hellenistic -Sokrates -original late 4th century BC -Votive piece -What a philosopher was supposed tolook like |
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Hellenistic -Gaul and his wife c. 220 BC -King Attalos I (214-197) commissioned this piece -king of Pergamum -Epigonos: possibly the artist -made war theme on acropolis -Climatic theory -Very dramatic piece -Triangular, pyramidal stabilizing form -Story of warfare between Pergamum and Gaelic people -France was heart of Gaelic society -Gaelic warrior is taking his life: seen as heroic -That moment between life and death -He killed his wife because she was going to become a slave -Would have been painted -Have too look at the sculpture in the round -Looks like a different sculpture from all sides -Heroic nude, but also because the Galician people fought in the nude, to put fear in their enemies eyes -On the acropolis -Political propaganda -Military cape |
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Hellenistic -TheDying Gaulc. 220 BC -Torque: twisted gold -Could have been originally bronze -Torque and hairstyle show it is aGaelic soldier -Moment between life and death -He dies heroically: that’s what aGaelic warrior does, honoring this individual -Trumpetier -If this artwork is too good to betrue (in too good of condition) then it is. -Would restore this in therenaissance -Michelangelo restored the arm |
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Hellenistic -OldGaul -Part of military grouping of Gaelicwarriors -Only his head is original |
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Hellenistic -Epigonosis not the artist if it was the first one, he signed the second one -Two theories of what it would havelooked like -Inscription of the war -Pyramid shape -Second one could have looked like apedament |
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Hellenistic -Menelauswith body of Patroklosc. 250-200 BC -Pergamon style -Death, sorrow, grief -Father grieving the death of hisson -Killed by Hector -Menelaos: king of Pergamum -Pyramid shape -Mythology: he didn’twant to bury his son’s body until his son’s ghost tells him to give him aproper burial |
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Hellenistic -Hanging Marsyas c. 250-200 BC -suffering, grief -Same mythology -Fascination with death -Musician, he wanted to take on Apollo (god of music), he loses and Apollo takes his life -Looking at the gods in a bad light -They are challenging the gods on anormal basis |
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Hellenistic -TheGreat Altar, Pergamon c. 175-150 BC (Attalos I) -Berlin, Germany -Disassembled by German archaeologists -Figures are 9ft tall -Battle between the giants and skygods -Meant to honor Attalos I, honoring him as a great general -Telephos story on the back, son of Herakles, Attalos says he is descendent of Telephos -Telephos made city of Pergamon -Alter for sacrafices |
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Hellenistic -The Great Altar, Pergamon, turkey c. 175-150 BC -The sculptures spill into our space -Artisans names inscribed under each sculpture -Ionic style, looks like a stoa -Thinking about the viewer and how to get them to stop and look at the art -Climbing up the stairs -To get audience to recognize the sculptures |
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Hellenistic -The Great Altar, Pergamon c. 175-150 BC -EastFriezeAthena and the Giants (Battling Alkyoneos andGe) -Athena taking on a giant on theleft (his name is Alkyoneos) -The giant gets all his power fromthe earth, Athena pulls him up from earth -Nike figure is holding a wreath toher head, as soon as the wreath touches her head she is victorious -Moment of climax -Ge on right, mother of Alkyoneos, pleading for mercy -Very emotional |
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Hellenistic -The Great Altar, Pergamon c. 175-150 BC -Zeusfighting three giants |
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Hellenistic -The Great Altar, Pergamon c. 175-150 BC -The goddess Nyx (night) -Carved separate panels -Wind drapery |
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Hellenistic -Northside of the Altar of Pergamum -Sky god crushing giant’s head |
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Hellenistic -The Great Altar, Pergamon c. 175-150 BC -Telephosfrieze -Son of Herakles who was abandonedon mountain top and finds the city of Pergamon -His mother on the right, kind oflooking like Athena |
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Hellenistic -The Great Altar, Pergamon c. 175-150 BC -Hercules discovers his son Telephos -Herakles on the left, inspired by lyspos in classical world -New style: high to low relief -Background figures are low relief -Symbol of imperial artwork -Attolos used this first -Would have been painted -Not life size |
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Hellenistic -Nike(Victory) of Samothrace -Pythoktitos of Rhodes ?c. 180 BC -On Prow of ship -To glorify a sea battle -Commemorative military piece -Show climatic moment, she has just landed on prow of ship -Female nudes are common by now, drapery no longer is to show body, but it adds drama -This is the original piece |
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Hellenistic BoyJockeyc. 220-200 BC -Bronze -Found in Artemisia ship off cape ofArtemisia -Exploitation of the youth, boyswere forced to ride the horse without sturrups or sattle |
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Hellenistic SleepingSatyr(BarberiniFaun)c. 200 BC -erotic, sexualized artwork -satyr (sexual mythologicalcreature) -Like rococo artwork, no deepermeaning -Put in public places, gardens -Bernini (baroque artist) restoredit |
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Hellenistic -Portraitof Euthydemosof Bactriac. 200 BC -Aged -King, he was literate and educated,honoring himself by showing himself like this -He ruled bactria |
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Hellenistic -Cleopatraand DisokouridesDelosc. 140 BC -portaiture was made to anyone that couldafford it -Not the same cleopatra -Looks like couple in tomb of masolos -Revival of clasicism, this isnt high hellenistic artwork -Return to classical art stylesbecause Rome is becoming big patron of art and they prefer classical art -Emphasis of being in the round,makes it hellenistic -controposto |
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Hellenistic Capitoline Venus c. 250-150 BC -Normal to see female nudes -She looks bashful, draws attention to her nudity -Variations of the original |
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Hellenistic -Crouching Aphrodite c. 200-150 BC -Different positions of the female nude -Typical way to take a bath, she maybe taking a bath -Genre of the gods, everyday life |
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Hellenistic -ErosAsleepc. 150-100 BC -Cupid -Connected with sensuality -“cute” artwork, no politicalpropaganda -Put in garden |
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Hellenistic -Aphrodite, Pan, and Eros Delosc. 100 BC -Sexual theme -Public artwork -Her face doesn’t show that she is upset even though she is holding a sandal -Playfully resisting -Disturbing mythology: Eros is the son of Aphrodite |
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Hellenistic -Erosand Psychec. 150-100 BC -Children engaged in sexual activity -Greeks saw nothing wrong with this artwork |
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Hellenistic -Nymph and Satyr c. 100 BC -Rape -Not something an artisan would be ashamed to create -Satyr cannot control his sexual desires |
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Hellenistic -Satyrand Nymph -Rape scene -This was popular for publicconsumption |
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Hellenistic -Satyrand Hermaphrodite -rape -Roman painting in Pompeii influenced by Greek sculpture |
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Hellenistic -Aphrodite of Melos(Venus de Milo) c. 150-100 BC -Came from island of Melos found by French -In the Louvre -Poster child of female nude -Copy of Aphrodite of Knidos -Different variation -This is a climatic piece too, hem of her gown is falling off her side -Created a subliminal message in the mind, she will be nude within seconds -Maneristic: exaggerating the body to improve the body, long neck, unnatural stance |
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Hellenistic -1620 restored by Bernini -He made the mattress -Sensual, love, attraction -Hellenistic artisans like surprises -She is a hermaphrodite -She was a goddess that was partfemale part male |
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Hellenistic Dwarffrom Mahdiac. 150-100 BC -Disenfranchise: the poor, peoplethat are struggling -Usually never see thedisenfranchise in the arts because they cant afford art -Dancing for entertainment -He didn’t buy this piece, a rich persondid, for status for the weathly, they started carrying for thepoor because there were so many poor on the streets -Not good to have so many poor, sothe wealthy invested some of their money to the poor, became a competition whocould be more generous |
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Hellenistic HellenisticRulerDemetrios I of Syriac. 150 BC -Idealization -Colt of the political figure/elite -He is a political ruler -This is not what he looked like |
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Hellenistic -Flamboyant political leaders -dramatic |
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Hellenistic DemetriosPoliocretes (?)1stcentury BC -King of Macedonia -He believed he was the son of Zeusand reincarnation of Alexander the Great -Nude with military cape with noarmor showing bravery -Cult of political ruler |
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Hellenistic SeatedBoxerc. 100-50 BC -Original hellenistic bronze -Has boxing glove -Boxers didn’thave as many rules as we do now, no time limit -Emergence of professional athletesrather than hobbies -He is an elderly man, showssuffering -Broken nose, cauliflower ear,scars, blood on his face |
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Hellenistic -Boxing matches -Pummel the person until they cantget up -Brutality of hellenistic world |
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Hellenistic MarketWoman 2nd century BC -Hunched over because she cannotstand up straight anymore -Clothing falling because its wornout -Shows the artisan cares about thepoor |
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Hellenistic TheLaocoon group(Laocoon and his sons)2nd – 1stcentury BC -Mythology -Focus on the dark aspect,suffering, agony -Don’t know if this is a original -Mythology is a Roman story, maybecommissioned by a Roman because they loved Greek artwork -Heroricising the Trojan -Laocoon was a prophet, he forsaw the Trojan horse, Laocoon tried to tell people about thehorse, so the Greek gods send the serpent to kill Laocoon -Moment between life and death |
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Hellenistic Farnese Bull artisan: Appollonius of Tralles -Rhodaian artisan -Commissioned piece -Plenty the elder talks about this piece saying it was commissioned by a Roman -May be original -12ft tall, one of the biggest marbles found in antiquity, expensive -Woman being punished for treating her niece like a slave, she was tied to a bull -Pyramid shape to create visual balance -Partially restored by Michelangelo -Classicism in the wet drapery on the right |
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Hellenistic Storyof Odysseus and Palladion2ndcentury BC -Made for a great emperor in Rome -Aesthetic values of Rome |
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Hellenistic Nikai anda bull, c. 100BC -Reflect high classical becauseRomans like that style -Replica of classical artwork |
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Hellenistic Orestes and Electra 1stcentury BC -Looks classical -Dramatic artwork hasn’t disappeared -Children of eganemnon |
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Hellenistic -Femalefigurinefrom Tanagra3rdcentury BC -Terracotta -Twisting of drapery, may be madeearlier Hellenistic |
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Hellenistic Women conversing c. 200 BC -Pyramid form to visual stabilize |
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Hellenistic -LatePtolemy VIII -Face of Ptolemy -This came from Egypt, commissionedby a Greek -Portrayed as pharaoh -More eastern motifs |
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Hellenistic -Odyssey Landscape -Land of the Laestrygonians, Rome c. 50 BC -Era of the great painters, lists of painters -Rome did replicas of the paintings -Roman interpretation of Hellenistic paintings -landscape |
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Hellenistic Tessellated mosaic, from Delos 2nd century BC -Mosaic artisans copied paintings -From island of Delos |
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Hellenistic Preening Doves By Sosos(?) 2ndcentury BC -Believed to come from the painter of Sosos -Mosaic based on Sosos’s paintings -Very realistic, representational |
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Hellenistic Dioskourides ofSamosc. 100 BC -Drama -Movement -Theatrical enteratainment |
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Hellenistic Partof a mold-made Megarian bowl3rd-2nd century BC -Pottery has become functional, nofigurative forms on there anymore |
