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183 Cards in this Set
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Protocorinthian Style Orientalizing Period -Outline technique -aryballos: small vessel for scented oils -corinth didn't use this technique very much -warrior on horse -hoplite: heavily armed foot soldier |
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Protocorinthian “Macmillan” Orientalizing Period -aryballos: small vessel for scented oils -Hoplites: heavily armed foot soldiers -hoplites replaced the chariots |
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Protocorinthian animal style olpe Orientalizing Period Olpe: city in Greece, spoutless jug, like oniochoe -Black figure -Etruscans in Italy loved these items -creamy white background, red was the clay -rabbits, griffins, big cats |
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Chigi vase, olpe c. 650 BC Orientalizing Period -Hoplites in formation (locking shields together) -shields painted to scare the enemy -the actual battle was short |
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Early Corinthian animal style amphora c. 625-600 BC Orientalizing Period -not as popular -very busy -they were scared of the empty space -less individuality of the animal |
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Corinthian Pyxis vessel c. 600-575 BC Orientalizing Period -small storage vessel for household items |
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Protoattic c. 650 BC Orientalizing Period -“Eleusis”amphora -Polyphemus (Cyclops): Homers tale, Odysseus blinds the cyclops. -Gorgon (Medusa) and Perseus -style from Athens -Athenians liked large vessels to tell elaborate stories. -black and white style -synoptic narrative (summary) -Skyphos cup: drinking cup |
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Protoattic Amphora c. 700-675 BC Orientalizing Period Analatospainter -Chariots, elites in charge -cremation urn -dots in clothing |
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Platefrom island of Thasos Orientalizing Period (Bellerphonand the Chimaera) -Chimaera: 3 headed beast |
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Black-figured amphora c. 625-600 BC Orientalizing Period The “Nessos” amphora Knielauf position: running position of warriors -always from Athens if it has orange-colored clay -Hericles killing the centaur (half human, half horse) who carried off his wife.
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TheWild goat style vase Orientalizing Period -Oniochoe -Rhodian style -very popular style: found all around -repetition, very busy -lotus plant on base (prominent in this style) |
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Oinochoe from Rhodesc. 625 BC Orientalizing Period -has lotus plant along bottom |
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Griffin Jug from Aegina c. 675-650 BC Orientalizing Period -Aegina is an island |
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Amphora,from Mykonos Fall of troy Orientalizing Period -Funeral vessel -the story is not very pro-greek |
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Transport amphora from Corinth Orientalizing Period 1st Image: Geometric -they stacked easily -thinner handles and neck 2nd Image: Orientalizing -thick handles and neck -pronounced rim |
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Temple of Apollo Orientalizing Period -Thermon, c. 640 BC -Moving from wooden temples to stone temples (Corinth lead this transition) -top changed from wooden to ceramic tiles -Peristyle temple -Narrow rectangle -Needed more structural support for the heavy ceramic tiles. 2nd Image: -triglyph and metope (for artwork) -these are characteristics of a Doric temple -Corinth has Doric temples, mainland Greece. |
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Thermon painted panel c. 625 BC Orientalizing Period -Khelidon and Aedon (sisters) -Example of a metope -based on a theater play, mythological story |
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Prinias, Crete c. 625-600 BC Orientalizing Period -Movement towards relief art in architectural settings. -Lentil stone as you enter a temple -repetition of animal forms, reminds us of repetition on corinthian pottery. -two women looking down at us |
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Prinias, Crete Orientalizing Period -frieze of horsemen -repetition of form like corinthian pottery |
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Sanctuaryof Hera and Samosc. 650 BC -New type of structure added in the orientalizing period, the stoa -Stoa: sanctuary structure for storage, outdoor shelter, open on front -It becomes a place for public gatherings |
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Temple of Athena, Smyrna c. 600 BC Orientalizing Period -Ionic is found on the Ionian Coast -Free-standing columns (votive columns like in India) -Influences from the East Image 2: -Mushroom capital from Temple of Athena -Only see this in Ionian Coast -Looks like lotus plant on Wild Goat style pottery |
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Avenue of Lions, Sanctuary of Leto, Island of Delos c. 600-575 BC Orientalizing Period -Leto is the son of Artemis (goddess of the hunt) -repetition of animal forms -looks like corinthian pottery style -Egyptian influence from Avenue of the Sphinxes -Corinth is setting up colonies in Egypt, trading with them. -Lion was political creature/ symbol Image 2: -Ivory Lion, Late 7th century BC |
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Siren head c. 700-675 BC Orientalizing Period -Bronze -Sirens would lurer sailors to their death -mythology
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Bronze Griffin head Late 7th century BC -Influence from the East -Combination of a Lion and an Eagle -pounded bronze -attached to bronze cauldron |
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Cast bronze caldron decoration Early 7th century -Mythology of Icarus and Daedalus (mythological artisan) -Orientalizing Period -Taken to work for King Minos in Knossos -According to mythology, Daedalus designed Knossos -He invented human flight, they left, but Icarus died
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The Mantiklos Bronze c. 700-675 BC Orientalizing Period -start to call artwork the 'Daedalic style' after the mythological character 'Daedalus' -Characteristics of Daedalic style: triangular form and face -Dedicated to the “Far-shooter” (Apollo) -found in Delphi, major sanctuary -Mantiklos is the person who commissioned it -votive offering -he is trying to manipulate Apollo, now he owes him because he gave this to Apollo.
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Man carrying a ram Late 7thcentury BC Orientalizing Period -Crete -Daedalic style -sheep, making a sacrifice -tight waist & loin cloth: Minoan style |
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Warriorfrom Olympiac. 700-675 Orientalizing Period -Olympia: Major sanctuary, olympics -Daedalic style in torso |
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Material? |
Ayouth from Delphic. 625 BC Orientalizing Period -Daedalic style -Bronze -Wig, Egyptian style |
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A Daedalic female c. 650-625 BC Orientalizing Period -Wig, Egyptian style -Ceramic |
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From a relief vessel Orientalizing Period -Griffin with wigs -Daedalic face -flowers made with a seal |
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“Ladyof Auxerre”c. 640 BC Orientalizing Period -Maybe from the coast or islands because it is more sophisticated -Found in ancient celtic tomb in France |
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Acouple from Samosc. 620 BC Orientalizing Period -Wood, most don't survive |
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Daughters of King Proitos c. 600 BC Orientalizing Period -Ivory reliefs -female nudes -more realistic -found in Athens, but not made there, too real -Maybe comes from the East -were supposed to make offerings to Hera before marriage, but they didn't, so she punishes them by cursing them to stand nude on the road. -female nudity is still not seen, this is rare |
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Woman at the Window c. 640 BC from Mycenae Orientalizing Period -from a temple -maybe a Metope from a Doric temple -somewhat of a Daedalic face, and wig |
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Pendant from Kameiros On Rhodes 7th century Orientalizing Period -Jewlery -from immigrant artisans, dies when they die -Daedalic style -Filigree and granulation (all over Mediterranean world) Image 2: -Goldcrescent pendant -Inlays for gems -no two looks exactly the same |
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Gold earring pendants Orientalizing Period -Inlays -Geometric style |
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Cut-out bronze plaque 630 BC Orientalizing Period -Used for wooden objects -Export item from Crete -pounded out bronze with cut out silhouettes -borrowing forms, griffins -they will make mythological creates look cute |
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Agold roundelc. 625 BC Orientalizing Period -Made in Crete -Granulation -Bull imagery -Daedelic faces -representational flies (but why?) |
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A Gorgon from Syracuse, Sicily c. 600 BC Orientalizing Period -Ceramic relief -Kneeloff position (running pose) -Medusa -Pegasus horse (son of Medusa) |
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Lion and dolphin relief c. 600 BC Orientalizing Period -seal from Crete |
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TheNikandrestatue, Thera c. 640 BC Orientalizing Period -Life-size, stone -full-scale figures are mainly women -for temples, sanctuary, graves -found in grave -Daedalic style, wig |
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Youthfrom Samosc. 625 BC Orientalizing Period -the more representational, not from mainland Greece -Daedalic style |
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Aeoliccapitalc. 600BC Archaic Period -see along Ionian coast, not on mainland Greece -looks like a pineapple -dies out at end of archaic period |
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Doric and Ionic order Archaic Period -Ionian coast: Ionic -Mainland Greece: Doric -Mainland Greeks were considered the Dorians -Entablature on top -Doric: Freeze had triglyph & Metope, triglyph was left over from wooden beams, Guttae: little knobs -Ionic: running freeze 2nd Image: -Flutes: groves on column -Doric: massive column, no base. -Ionic: elegant column, narrow, thinner, fillet on fluting, base. |
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Archaic Period Peripteral: Paristyle temple, columns go all the way around, one row= Doric Dipteral: 2 or more rows of columns= Ionic -Pronaos: Porch, entrance way -Cella/ Naos: where cult statue would go, most sacred part. -Columns in Antis: columns between walls. -Opistho-Domos: storage room for votive offerings, no door to cella. -columns off to the side to be able to see the cult statue. |
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Sophilosc. 580 BC Archaic Period -Pottery with horse: Chariot race -athletic souvenir |
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Templeof Apollo, Corinthc. 560 BC Archaic Period -Corinth: initial leaders of stone temples -Cella -Pronaos facing the East -Opistho-Domos with a back Pronaos -Doric temple -Entasis: bowing of the columns, illusion of how heavy the top was, illusion. -Monolithic columns: no drums, it is one giant stone. |
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Templeof Artemis, Corcyra (Corfu)c. 580 BC Archaic Period -Corfu: island between Italy and Greece for trade. -First all stone temple -war monument -Pseudo-Dipteral: wider structure, one row, fake dipteral (could have had 2 rows). -Doric temple 2nd Image: Medusa and Chrysaorc. 580 -Pediment -Kneeloff position -chrysaor: Pegasus in human form -size doesn't show importance. -struggling with fitting things in Pediment. |
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From the Acropolis, Athens c. 550 BC Archaic Period -Encaustic painting: pigment with beeswax -all temples were painted -fragment of temple dedicated to Erectheos and Athena. -one of them is Erectheos (god) -Preserved in a pit -serpent tail at end -Erectheos was born of corn, holding corn. Image 2: -OliveTree pedimentc. 570 BC -At top center of pediment -Athena: matron goddess of Athena |
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Temple of Aphaia Aegina, c. 500 BC Pediment sculpture 2- from the East 1- from the West Archaic Period -Dedicated to Athena -Aphaia: earth goddess, worshiped on island of Aegina. -2 stories, giant statue of Aphaia. -Doric |
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Story of which war? |
Temple of Aphaia Aegina, c. 500-480 BC Archaic Period Pediment sculpture -East (bottom), original was destroyed, early classical. Figures pull you back, visual loop (sophisticated understanding of how the eye works, implied line). -West (top), late archaic (our eye goes to the end, nothing brings us back). -story of the Trojan War -Athena in middle, goddess of warfare |
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East Pediment -Early Classical style -Dying warrior -Reference to the Trojan War -He doesn’t look like he’s dying, he’s smiling -Emotional artwork hasn’t caught up -Not considered archaic. 2nd Image: -East is more realistic (classical period) -West is archaic, smile…Cheese!! |
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-East is Classical period -Would have painted these inencaustic (Beesewax and paint) -East is more realistic, betterunderstanding of body in archery form. 2nd Image: -West: not a realistic pose for archery -Late Archaic |
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Templeof Hera, Samos. c. 530 BC -size of football field Temple of Apollo, Didyma c. 550BC Temple of Apollo, Didyma. c. 330 BC Archaic Period -They liked colossal architecture -Extra columns: ionic, from ionian coast -Dipteral temple: 2 rows of columns, stronger structural support -Ionic Columns |
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Doricand Ionic Treasuries Archaic Period -Could be treasury or temple -two variations -Cannot tell the style -Used for overflow for storage -Considered prestigious (statussymbol) to have one of these |
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Metope from the Treasury of the Sikyonians, Delphic. 560 BC Archaic Period Caster and Pollux: twin gods that always gotthemselves in trouble. -Metope: on Doric temple -Cattle are frontally composed -Being unique, advertising artisans |
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Treasuryof the Athenians, Delphic. 490-480 BC Archaic Period -tells story of Herakles and Theseus: heros -commission for battle of Marathon -Doric Image 2: Herakles and the Hind -Metope -Adding drama, visual movement -Third trial of Heracles (story of12 trials, created by Hera, she wanted him to fail) -He has to capture the Hind (deer),he doesn’t kill it, Artimus gives him her pet. |
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Siphnian Treasury, Delphi c. 530 BC Archaic Period -Island of Samians -Caryatid: rule of the Ionic order -Ionic style (no metopes or triglyphs) cariati for plural Image 2: East pediment -Heracles story -He goes to oracle in Delphi to ask for help because he is sick, but Apollo doesn’t answer him -He tries to steal the tripod (sacred) -fighting over tripod -They are struggling with depth, relief, rigid, not a lot of movement. |
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Archaic Period -Eastfrieze on Siphnian Treasury -Each side of treasury was carved bydifferent artisans -Visual balance -Troy mythology: Achilles (Greeks)and Hector (trojans). Hector is killed, Achilles dragsHector around city for days. -They use mythologies as analogiesfor contemporary events. 2nd Image: -Northfrieze -movement from leftto right -Battle scene, story of Olympians,the sky gods against the giants. -Giants are with shields (Hopliteformation) -Considered most innovated side |
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Templeof Apollo, Syracuse, Sicily c. 560 BC Archaic Period -Perpetual parastyle: shows that it is from Sicily -Stairs in front: frontal focus -Extra row in front for support(Ionian tradition) -No opistho domos -Adyton: go inside through door in cella |
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Archaic Period -Metope from Temple C -Storyof Herakles and the Kerkopes (twins, jokesters) -they took all his belongings, he ties them, they make jokes abouthim -not a deep meaning -humorous composition -based on theatrical plays in Athens: plays are emotionally draining, but endswith comedy play |
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Archaic Period Perseusand Medusa from Temple C560-550 BC -Death of Medusa, cutting off herhead with help of Athena -Metope |
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Archaic Period Europaand the Bull from Temple Y560-550 BC -Low relief -Story of Zeus, he wants to haverelations with Europa -He transforms himself into a cowand takes her away -Love story? |
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Top: TempleG, Selinusc. 530-409 Bottom: Temple of Zeus, Akragus,c. 480-406 BC Archaic Period -Different plans -Both Doric, in mainland Greece-Top is bigger than football field -Opos odomus on Temple G -Temple G was never finished, destroyed during Warfare |
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Archaic Period Top: Templeof Hera Ic. 550 BCat Poseidonia(Paestum) Bottom: Temple of Athena c. 500 BC -Doric -Sanctuary for gods -Sculptures were taken -Best architecture in Poseidonia |
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Archaic Period Suicideof Ajaxc. 570-560 BC Foce del Sele -unfinished piece -throwing himself on his sword |
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Archaic Period -Atticblack-figure hydra -Fountain house scenec. 510 BC -hydra:3 handled vessel for water -this is only time when females got to go alone -females were highly segregated in this time |
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Early Archaic New York Kouros c. 600 BC -Kouroi (Kouros) singular (male nude) -Korai (kore) plural (female) -Can be used as a grave marker or votive offering, funerary. -represent an individual, but not a portrait -Made to be viewed from the front -Always made in the round -Stylized, no smile, first periodsof archaic there is no smile. -Big almond shaped eyes, hair style,arms locked at side, knees locked, leading with left foot (Egyptian influence) -Nudity: symbol of courage, bravery -Maybe to represents a warrior or athlete (competed in the nude) |
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Sunion Peninsula Kouros c. 580 BC Archaic Period -found in situ -used for a sanctuary dedicated to Poseidon -Not a grave marker -Follows all the stylistic rules -Most koros figures are life-size (6ft or larger) -This one is 10ft, may suggest divinity, may represent a god |
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Twin Kouroi c. 580 Archaic Period Original guess: Caster and Pollux -Maybe story of Kleobis and Biton (mythological story of two twin brothers) -pulling Hera in a chariot? -wearing boots -she does them a favor, she kills them (because life is so hard) -Discovered at sanctuary Artisan: Polymides of Argos |
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Anavysos Kouros c. 530 BC Archaic Period Inscription: “Stand and pity beside the grave monument of dead Kroisos whom at one time fought in the front line of battle.” -Middle Archaic: archaic smile -Cemetery marker, discovered in cemetery -Made after he passed away -typically people get their funerary stuff ready before they die, bragging rights -Greeks idealize sculptures, they never looked older than 20, they want to remember their glory moments. |
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Aristodikos Kouros c. 500 BC Late Archaic -More naturalistic/representational form -Arms are slightly bent -Archaic smile disappears in the last decade -Severe style, transitional state |
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Moschophoros (Calfbearer), c. 560 BC Archaic Period -Beards are symbols of maturity -Not a kouros figure -Archaic smile -This is a votive offering, discovered in a pit, smashed in 480 -Parts were found in different pits, also used for foundations -Even mixed up pieces are in different museums |
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Athenac. 520 BC Archaic Period -Dramatic, hero positon -Mortal women could not be seen inmilitary or dramatic stance, only goddesses/gods -Snakes on hem (associated withAthena and the acropolis) -Snake goddess from Minoan worldcould be associated with athena. |
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Panathenaic amphorac. 530 BC Archaic Period -Panathenaic games trophy, with olive oil -This is Athena |
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Rampin Horseman c. 560 BC Middle Archaic -Celery leaves wreath: award from Nemean games. -Nemean games: only for warriors. -Games in Argos and Corinth -From acropolis -Beard, mounted on a horse, may be riding into battle |
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Archaic Period -Kore garments -Nudity was heroic and courageous,so women couldn’t be in the nude -Women clothed is a form ofsubjugation -Clothing is important, not figure 1) Chiton: under garnment 2) Peplos: over top of Chiton, but notalways 3) Mantle: over top of everything,over shoulder |
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Berlin Kore c. 570-560 BC Middle Archaic -Persephone: daughter of Zeus -Demeter Eleusinian Mysteries: Introduce a more pleasant afterlife. -Was a secret cult -Not the best at representing the cloth -Wearing peplos -Korai is the familiar of Persephony (goddess of underworld) they called her Korai because it was bad luck to say her real name -Pomegranate in her hand: represents Persephony eating in the land of the dead. -This is why we have changing of seasons (lives 6 months on earth, 6 months in underworld) -All women are considered a Korai before marriage |
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Phrasikleiac. 540 Middle Archaic Artisan: Aristion of Paros Inscription: “I shall forever be called Kore, allotted this name from the gods inplace of marriage”..means she died before she gotmarried. -left foot is slightly forward -grave marker -artist came to Athens to make these sculptures -the rise of name recognition (of artists) |
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Peplos Korec. 530 BC Archaic Period Encaustic: beezewax with colored pigment -Peplos style clothing -Not funerary -Foundin Acropolis,votive offering -Pomegranate in hand -Wearing two levels of clothing -She had a wooden arm because herarm was outwards, so it wouldn’t be heavy on top -Painted, discoloration on dress,eyes, and lips -Greek artwork was not completeduntil painted -Greeks like intense color -Holes in her head maybe for crown -Women had pale color, paler theskin meant higher status and wealthy, females with tan color were of lowerstatus. -Women would make themselves lookpaler with makeup -Male’s work was outside (highstatus) |
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Korec. 520 BC Middle Archaic -Found in Athens -Chiton with himation -Made in one of the Agean islands because that’s where these dresses became popular -Theory: if there is a lot ofelaborate detail, then that means it was carved in the islands and shipped inas a funeral type monument. |
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Kore, No. 682c. 520 BC Archaic Period -Himation -Women sometimes lead with leftfoot, but it is suddle, guys are more dramatic -Taboo against life-size nudefemales -She is pulling her Chiton againsther body, they are exploring the female body without breaking the rules. -Public art: no female nudes. -Private art: female nudes. (not connected to religion) -This is connected to religion, moreconservative |
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Kore, No. 674c. 500 BC Archaic Period -Encaustic painting technique -Sever style: lack of smile (carved in Athens) -Detailed clothing: (carved in Agean islands) we are not sure where it was carved. |
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Euthydikos Kore c. 490 BC Archaic Period -Himaton and Chiton -Sever style: lack of emotion, no smile -Her body is fuller, may be a status symbol of wealth -Last 10 years of the archaic period |
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Chiton Kore c. 520 BC -Found in Athenian gravesite -Encaustic pigment -You can see the kneecap, getting good at manipulating marble to create realism |
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Ischys Kouros from Samos Island c. 580-570 BC Early Archaic -Different Kouros tradition on different islands -More representational than Early Archaic in Athens -This is closer to India, they are already producing naturalistic sculptures |
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Hera of Samosc. 570-560 BC Archaic Period -More abstracted -found in her sanctuary -Feels like a column -Not pulling of dress to the point where you see her body -Conservative -Tradition was to hold the dress -Himation and chiton |
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Headof a Korec. 550 BC Archaic Period -Miletus: Major center -Ionia coast -Strong high cheekbones -Wide nose, thick lips, thin eyes,skull cap: stylistic traits |
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Geneleos: ArtistMarble family groupc. 560-550 BC Archaic Period -Samos -First family type sculpture -Along Roadway to Hera’s sanctuary -Inscription shows dedication toHera -Father on right in reclinedposition, symposeum idea -Left is mother figure -Standing are children -Look like columns |
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Korefrom Samosc. 560-550 BC Archaic Period -10” tall -Does not fit in Kore traditional style -Gift to sanctuary -Breaking traditions -Shows there were other figuresalong with Kore |
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Womanholding a birdfrom Thebesc. 560 – 550 BC Archaic Period -A lot of anomalies -Terracotta -Wouldn’t call this a Kore |
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Statue of Nike or Artemis from Delos c. 550 BC Archaic Period -Artemis: found on island of Delos in sanctuary, this is where she was born according to mythologies -Wings? : A nike figure: symbols of military victory, victory figure -Not a Kore figure -Knielauf position |
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Sphinxfrom Delphic. 560 BC Archaic Period -Sculpture tradition beyond kore figures -Idea comes from the East -Carved on Ionian coast maybe -Orientalizing theme, mythicalcreatures -Delphi is a major sanctuary -Griffin |
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Sphinx from Spata c. 550 BC Archaic Period -Carved in or around Athens -Spata is a cemetery not far from Athens -Grave marker set on platform -Cremation is disappearing -See a lot more variety of gravemarkers -Transition from pottery grave markers to stone because it was a status symbol -Archaic smile |
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Lion from the cemetery at Miletus c. 550 BC Archaic Period -Greeks like to domesticate creatures -Funerary stones, fierceness has laid down at the grave -Different themes |
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GraveStele c. 560 BC Middle Archaic -Sports is a popular theme, bragabout your life -Most artwork looks like they were20, but that’s their glory days -Discus thrower (behind head) -Anyone could compete in sports (notslaves), but that’s the only time the poor can beatthe elite class. -If you werent born into the elite, you’ll neverbe in the elite -Stele stone (stone carved in front,sitting upright, no carving on back) -Archaic smile, stylized hair -Second tier artwork, not a part ofthe elite class, but they are well off. -Egyptian Frontal eye, disappears inearly classical |
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Baseof a statue marking a grave in Athensc. 510 BC Archaic Period -Sportingevent -Middle class -Wrestling event -Frontal eye |
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Athenian grave stone, c. 540 BC Archaic Period -Frontal eye -Boxer because of his leather strapson his hands -Considered a brutal sport -Cauliflower ear -No arena -Only mature men participated, beard |
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Gravestone of Aristion c. 510 BC Archaic Period -Aristokles: the individual -Stele stone -The warrior -Leads with the left foot -Korous figure influences it -Beard: he is mature -Has armor -Frontal eye |
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Bronzekrater from Vixc. 510 BC Archaic Period -Pounded out Metal -Votive figure -Elaborate -Spiral handles: is for wine, forsymposium -Holes on top to strain -Made as an export item -Made in Sparta, shipped to Vix,France -Chariot on freeze |
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Silver jug from Lydian tomb c. 525 BC Archaic Period -Found in turkish grave site -Greek art is becoming a high status collectable item -Lions on top, rams on side |
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Solidbronze cast figurec. 520 BC Archaic Period -Pounded out bronze -Holding a drinking cup -Elite cultures would holdsymposiums, each had their own rules: drink, prostitues, talks, social drinking -All-male event |
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BronzeHeadc. 570-560 BC Archaic Period Lost Wax -Hollow cast -Can start making large objects -Takes less bronze with this process -The dating is problematic, may belate archaic because of the sever style Lost Wax Process: -Mold face -Put wax layer on face and carvedetails -Put clay on wax when dry -Melt wax out and fill cavity withbronze |
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Kouros or Apolloc. 520 BC Archaic Period -Full scale loss wax process -Romans stole Greek artwork -They would melt this artwork downduring middle ages -Not a Korous figure -Leads with the wrong foot -Generally see this in the classicalera -Archaic smile |
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Polyxena sarcophagus c. 520-500 BC Archaic Period -Sarcophagi were rare in the Greek world -Generally along the Ionia coast -Put these along roadsides for bragging rights -Story/mythology: death of Achilles, he fell in love with daughter of Prime (a trojan princess), they were the enemy. -They are sacrificing her, because ofher Achilles is dead -Son of Achilles is already killing her before she gets to the tripod -Mourners on left, grief is very dramatic -Death scenes were common |
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Atticblack-figure dinosc. 580 BC Early Archaic Period Sophilos: artist, signed “sphilios painted me” -early archaic painter because it is black-figure -Athens is the place to go to be agreat potter -People wanted to collect these -Multizones (bands) -Dinos: wine for symposium, load upwith wine |
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Francois vase c. 570 BC Early Archaic Period Kleitias and Ergotimos: painter and potter -Athenian pot -Multizones (bands) -These artists worked together -Votive krater: for holding wine for symposium, but not for Greeks, this was found in tomb in Northern Italy, was imported. -Important outside of Greece -Potters weren't considered high status |
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Amphora by the Amasis painter c. 540-530 BC Middle Archaic -Dionysos and maenads -His most famous pots -Amasis was an immigrant -His name was turned into a Greek name, he might have been Egyptian -His specialty was the symposium, all his vessels were for symposiums -Reduced number of people on pots |
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Amasis painterc. 540-530 BC Middle Archaic -Symposium -Etruscans liked to collect these -Creamy white background slip,individual stylistic traits to stand out. -His pots have wine relationships -Satyrs crushing grapes: related towine -Harati was a prostitute in symposium,they had more rights than other women, they were educated |
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Middle Archaic c. 540-530 BC -Exekias: painter -Achilles killing Penthesilea: lovers -she is queen of Amazon -Reducing number of people on pots -For wealthy class -Find his pots on Acropolis, mostsacred area in all of Athens -He could experiment a lot morebecause his name was famous -Famous for simplifying, builds themup in a pyramid-like shape (visual stabilizing form) -He started to understand how peoplelooked at artwork -Emotional expression of each figure -They looked into each others eyes(in love) before he kills her -Raw clay color: orange |
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Middle Archaic -Exekias:artist -Achilles and Ajax playing a game instead of going to war (best friends) -Another story of the Trojan war -They arentliving up to their responsibilities -Eventually they go back and win thewar, message to people that they can change things even though they messed up -Political agenda -Square off the images, meant to bedisplayed, image on one side -Pyramid shape, stabilizing form,upside down triangle with their spears |
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Middle Archaic Suicide of Ajax c. 540 BC -Artist: Exekias -Emotional -suicide was considered honorable in Greek world -Ajax didn’t get the armor of Achilles, so he commits suicide |
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Dionysos Cup Archaic Period -Glossy coral red technique invented by Athenians -Most painters did not use it cuz it was difficult and expensive -Story of Dionysus -He came from the East across thesea, was attacked by pirates, created grapes and turned them intodolphins -He was known to transform, the godof humor, foolish -Cult of dionysis, anyone could be in the cult(slaves, women), one of few times women could gather, mystery cult -This was probably a drinking cupfor symposiums |
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Archaic Period Taras, Southern Italy, c. 560 -Taras Painter -Kylix: drinking cup -Athens isnt the only place that makes pottery -Mostly military themes, calvary -They were kind of related to the Spartans |
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Archaic Period ca.490 BC Artist: Onesimos -Girl preparing to bath -Athens -Pottery was an exception to the rule because it was connected to religion (religion was conservative) -Pottery was kept in the home, why they show the female nude -Put it in context to not confuse with the heroic/coragous nude, genre scene -Pottery sometimes has a sexual connotation |
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Corinthian aryballosc. 575-550 BC Archaic Period -From corinth -Aryballos: vessel for scented oil -Acrobats -Rusty red, produced in corinth -People didn’t want this color, they started going out of fashion, people wanted orange |
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Archaic Period Corinthian krater c. 560 BC -Developed orange paint to look like Athenian pot -Corinth is trying to mimic Athens because Athenian pottery sells, and corinth doesn’t |
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Archaic Period Laconian black-figure cup -Arkesilas Painter c. 560 BC -Spartans didn’t make pottery, theymade slaves do it -Doesn’t sell well -African theme -Arkesilas was an African king,painter named after him -symposium |
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Archaic Period -HuntPainter -Laconian black-figure cupc. 550 BC -Painting on inside of pot -Images don’t fit, animal is cut off -Copying from other source probably,copy from actual painting 2nd Image: -another example of cut off images |
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Archaic Period A chalice from Taucheira, Libya 560 BC -Along African coast -Animal style, wont see in Athens |
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Archaic Period Chalkidian black-figure c. 530 BC -Vulci: Eutruscan city in Southern Italy -traded better in the western half than other places -Animal theme, rooster and serpent -Adapting corinthian style -May have been migrant potters from Oboia -Chalkidian (dialect of Greek from Oboia) |
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Caeretan black-figure hydria c. 530-50 BC Archaic Period -Italian -Shows italian stylistic element -Story of Cerberus (3-headed dog)and Herakles -Comedy relief play that they wouldact out -Don’t see this humerous style in greece |
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Attic bilingual amphora Late Archaic Period Andokides workshop c. 520 BC -Athens -Introduction of a new style: Red figure -520 we start seeing this style -Red figure has to be late archaic or after -Same technique: 3 firing process, but they painted the background instead of the images to make it black -Andokides probably invented this technique -Bilingual: dual sided (red and black) -You don’t see this in temples, homes, or trades, only see these in studios, used these as a show piece to tell people what they can do -By 510 you don’t find bilingual amphoras because red figure gets so famous -Andokides was probably a student of Exekais |
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Achillesand Ajaxca. 525-520 BC Late Archaic -Bilingual amphora -Andokides Painter -Red figure and Black figure -Rip off of Exekais’ pot -A way to market himself -Foundation of competition inWestern art, who comes up with it first, doing something someone else has done isnt good enough |
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Euphroniosc. 510 Herakles and Antaios Late Archaic -red figure dominates pottery world -More flexibility with the style -Overlapping with black figure wasdifficult -Contour lines to find muscles, moredetail, overlap, orange color from watering the black slip (hair) |
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Late Archaic -Artisan: Euthymides c. 510 BC -Inscription: “Euphronios never managed anything like this” -competition between artisans -their studios were near each other -Contour lines -More movement -Motion of the body (he could dothat, but no one else could) -Revelers: people from symposiumsthat got too drunk and went out in the streets -Symposium vessel |
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Late Archaic -Artisan: Gorgos -Red-figure kylixc. 500 BC -“Kalosinscription”: beautiful youthful boy -Sexual context in pottery, but notin public art -Drinking cup with nude youthful boy -Gift to lover -Homosexuality had no taboos in the greek world -Rules: an elder male would be alover and mentor to a younger male, but couldn’t marry them |
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Late Archaic Psyktervessel c. 480 BC Artisan: Douris -Greeks aren't suttle with sexualscenes -Wine production, drunk -Used for cooling wine |
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Late Archaic Revelerc. 490 BC -BerlinPainter -Start losing names of artists -Golden age of archaic pottery isdone before it comes to an end -Reveler: person from symposium thatgot too drunk and went out in the streets -Black dominates (berlin painterintroduced) -The bottom line that used to goaround the pot, but now it is shortened -Influential in later time period |
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Archaic Period Reveler c. 490 BC -Brygos Painter -Reveler: people from symposiums that got too drunk and went out in the streets -Interested in painting textiles,his specialty -We use the brygos painter to understand the clothing, maybe had patterns |
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Late Archaic Rhyta c. 470-60 -This style doesn’t resonate, rare to see, didn’t catch on, it disappears -Rhyta: vessel that’s in the form of hoof or bulls horn |
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Transition/ Early Classical Mother, attendant and Child c. 450 BC -Birth rate increase because of migration -Metric: free person that moves to Athens and starts a career, but not a citizen -Large foreign population, rise of prosperity, can tell in art -Focus on upper class, homes are getting bigger, materialistic -See female roles in society in this pottery -She is receiving her child from the nurse or nanny -Nanny would take care of child sothe mother wouldn’t be burdened -Life in Athens -Shows women in wealthy class |
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Transition/ Early Classical -MarriageAltar from Taras, Southern Italy -“Bride, Aphrodite and Eros”c. 400-350 B.C. -Taras: colony city -Marriages in the Greek world weren't for love, they were to unitewealthy families -Female marches from her father’shouse to husband’s house -When she removed the veil shebecame married to her husband -Aphrodite and eros (cupid): symbol of love and marriage -Genre scenes of women in theeveryday life |
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Transition/ Early Classical Temple of Hera II -shows how Temple of Zeus, Olympia looked like -Second biggest temple at Greece -Lots of city-states finantially contributed to this temple -Political propaganda -Where Olympics took place -Communicate value of the Delian League -Parian: white pure marble -Pentelic: came from mainland Athens Greece, yellow hue marble -Altar was in front of the Eastern Pediment -Zeus in center of Pediment -Visual communication to olympian athletes |
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Transition/ Early Classical Templeof Zeus, Olympiac. 460 BC EastPediment -Zeus in center flanked by twochariots -Play: Pelops and King Oinomaos, chariot race, everyoneknew this story. -They were competing for the King’sdaughter -King Oinomaos had the fastest horses in the world -Pelops cheats, he changes the pinsto wax pins, the chariot crashes, the King gets killed -Moral of story: bad things happenwhen you cheat -Pelops gets cursed, he gets killedhorribly, all of his lineage gets killed horribly -Birthplace of theater and drama isAthens -The message of this story: don’tcheat -This means that people cheated -Libon of Elis: Architect -Pelos found the "House of Atreus" |
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Transition/ Early Classical TheSeer IamosPelops and King Oinomaos Temple of Zeus, Olympia -Behind chariot -Actors would act out the storywithout actually doing the tragic events -He is communicating a tragedy byholding a mask Image 2: -Personificationof the River Kladeos -where Pelops was buried |
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Transition/ Early Classical Temple of Zeus, west pediment c. 460 BC -West Pediment of the temple -Apollo in middle (son of Zeus) -Battle of Lapiths (Greeks) and the Centaurs -Centaurs drank too much in a wedding and stole all Lapith women to rape them, the Lapith men beat the Centaurs |
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Transition/ Early Classical -Apollo from Temple of Zeus -Pediment represents the Persian War -Apollo is stopping the Centaur -Message: don’t be a centaur, be a greek, control yourself -They were more serious about the Olympics, they stopped wars for the Olympics -Behave in the Olympics even though you might see your enemy from war -Persians thought they were descendants of centaurs, Greeks thought they were descendants of Gods -Political propaganda |
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Transition/ Early Classical -Pediment from Temple of Zeus -Centaurand a Lapith woman -Severe Style: dominant form in Early Classical -lack of appropriate emotion for what is going on. -She is being taken by Centaur to beraped, she shows no emotion -Message: maintain your composure,severe style is the control of emotion -Don’t worry, the Delian League willwin the War. 2nd Image: -Lapith man in Severe style. |
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Transition/ Early Classical Lapith and two Centaurs c. 440 BC -From Athens -Red figure -Lapith story |
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Transition/ Early Classical -Metope from the Temple of Zeus c. 460 BC -Herakles and Athena -12 labors of Herakles -Stymphalian birds: man eating birds, Athena helps him find the birds so he can kill them -Athens sponsored this artwork -New stylistic positioning of the body, Athena twisting her body. |
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Transition/ Early Classical Herakles and the Cretan Bullc. 460 -Metope -Heroic story of Minotaur, hecaptures the Minotaur |
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Transition/ Early Classical -Temple of Zeus, Olympia -Herakles,Athena, and Atlas (a giant) -Metope -Herakles has to find the goldenapples, atlas knows -Herakles holds up the sky for atlaswhile atlas gets the apples, Athena helps Herakles -Herakles outthought Atlas to getthe apples |
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Transition/ Early Classical Templeof Zeus, Olympia5th Century BC -Colossal statue of Zeus -Clothing made of gold, body made ofIvory -Destroyed in a fire -One of seven wonders of ancientworld -Phidias made it: most famousAthenian classical sculptor -Probably the artistic mind behindthe Acropolis -Sphere in one hand and nike victoryfigure (military victory, military monument) -This is the father of Athena |
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Transition/ Early Classical Potsherdsfrom Athens -this is how they voted -Kimon's name is on here, someone voted for him to be ostracized |
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Transition/ Early Classical -Zeus statue -coin |
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Transition/ Early Classical Epiktetos Boxing Match, c. 500 BC -Red figure -Suggests athletic events |
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Transition/ Early Classical Temple of Zeus, Akragas, Sicily c. 480 BC -406 BC: Carthaginians re-attack and destroy this temple -Most impressive temples -Sculptures were 25ft height -Doric temple, but doesn’t follow the rules: men holding up the ceiling -Celebrate victory over Carthaginians -May have have windows in architrave -Innovation is starting |
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Transition/ Early Classical Temple E, Selinus c. 460-450 BC -Sicily -Story of Zeus and Hera -Limestone and marble -Suggest it is a wedding ceremony (removing of veil) -Grabbing wrist (aggressive) -Showing the gods in a negative way -Cultures are self-criticizing/self-analyzing their religion -Criticizing when they are doing well economically -Her face is smooth, body is rough (Italian style) -her face is marble, they had to import marble -Women would have their faces created with marble (status symbol) and body with limestone |
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Transition/ Early Classical Temple E, Selinus c. 460-450 BC -story of Artemis (goddess) and Aktaion (hunter) -he is being attacked by his dogs -Artemis is killing Aktaion because he professed his love forher -Her arms and face are made of marble, emphasis the pure white skin that they saw as a status symbol -Marble imported from italy -Self-criticizing their religion -Same time Socrates is criticizing religion, lead to his death |
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Transition/ Early Classical Reconstructionof the painted StoaAthens, c. 475-460 BC -Oath of Plataea: Oath that all theAthenians took to never rebuilt the Acropolis -Agora: market place where theybuilt things -The painted Stoa: place to meet friends, hang out -paintings depictedthe battle of Marathon -Cimon’s father was leader of the battle -Both doricand ionic columns, in temples you would never see this -Two traditions coming together -This is a secular building, not areligious building |
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Transition/ Early Classical -Athenian Coin -Athena on one side -owl: iconography symbol of wisdom -currency of Athens -International recognition, can goin any place in Mediterranean and they would accept the owl. |
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Transition/ Early Classical -Kritios Boy,c. 480 BC3 ft 10 in -Artisan: Kritios -better understanding of the human body -Controposto position: more representational pose, one leg bares all your weight -Not a Kouros figure, they have ended -No stiffness -Kouros figure is not naturalistic -Reaf hairstyle: adolescent hair style -He is in the heroic nude, maybe hedied doing some type of heroic behavior -Funerary stone -Not an athelete -He is very young -Persians destoryed everything in 480 -Made soon after the persian war -As realistic from the backside asthe front |
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Transition/ Early Classical -The Tyrannicides (Aristogeiton and Harmodius) -Kritios and Nesiotes (2 artisans) c. 477 BC -Complex sculpture -This is a copy of a copy -Athenians would touch this sculpture before battle for good luck -Seems rigid, trying to create something like the archaic scuplture -Cult heros of Athens, not real people -Bring down Pastratos tyranny -Sparta actually took down the tyranny -They were lovers (elderly man and younger boy) -What a hero is supposed to look like in the Greek world |
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Transition/ Early Classical -Attributed to Codrus painter -Deeds of Thesesus c. 430 BC -Striding forward position: recognize the hero |
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Transition/ Early Classical -Themistokles from Ostia, c. 450 BC -Portraiture vs. Idealizing -Attempt to look like the individual -May be Themistokles, hero of battle of salamus |
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Transition/ Early Classical -Diskobolos c. 450 BC -Myron: Artisan -“Pointing Machine” Vertuvius: roman scholar -Severe: no emotion, concentration, does not look like an athlete. -Myron’s claim to fame is movement, implied line -Shows body in motion -Create tension, about to throw something -Stump at bottom adds support to stand up -Marble -This Is a Roman copy of a bronze -Not how a discus thrower would stand -First artisan to explore body in motion |
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Transitional/ Early Classical -This is a discobolis thrower reinterpreted as a dyingwarrior |
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Transition/ Early Classical Angelito’s Athenac. 480 BC -Origonal marble on acropolis -Athena of warfare, wearing cape -Winning of persian war |
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Transition/ Early Classical -Charioteerof Delphic. 478-474 BC -Tyrant of Gela (Polyzaloa) -Bronze that survived because of anearthquake-Chariot was melted -He was a real person -He won the delphi games -His friend commissioned this art piece -This is the victory lap -Servere style: he is not exctied that he won -He is wearing a racing chiton -Hollow cast, thicker closer to thefeet so he could stand better -Would not have been painted, wantedthe status of the bronze to show -Lost wax process |
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Transition/ Early Classical -Artemision Zeusc. 460-450 -Zeus or Poseidon -Found out of context -Maybe this is the sculpture of Zeusthat was in front of the painted stoa -Open composition -bronze |
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Transition/ Early Classical -Riace WarriorWarrior “A”c. 460-450 BC -Clay from Argos -Possible phidias made him -Off the coast of Riace Italy -Shipwreck -There is clay inside which can beanalyzed, traces back to Argos (major bronze casting state)-Lost wax process -Honor marathon campaign -contropasto position |
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Transition/ Early Classical -Found with warrior A -Maybe was wearing a helmet -For marathon battle campaign -Maybe miltiades: war hero ofmarathon |
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Transition/ Early Classical Zeus and Ganymede from Olympia c. 470 BC -Terracotta -Conservative -Not upper tier artisan because they are working with terracotta -Bronze: 1st tier -Limestone: 2nd tier -Terracotta: 3rd tier |
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Transition/ Early Classical -Athletecrowning himselfc. 470 BC -Stele stone -Advertising status through gravestone (middle class would do this because they cant afford sculpture in theround) -He won an athletic event, doesn’tmean this is a portrait -His glory days (young) -Severe style -Finally not a frontal eye, profileeye now ! Yay! |
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Transition/ Early Classical Gravestoneof a girlc. 450 BC -Looking at pyxil (small vessel) -Rising class of males and femalesafter persian war |
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Transition/ Early Classical -MourningAthena Relief c. 470 BC -Pentelicmarble:came from Athens -yellowish hue -also in Kritios boy -most people wanted parian marble because it was white -Memorial marker on acropolis -Stele stone -Names of greeks who fell in battleduring Persian War -Military crown |
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Transition/ Early Classical EnthronedGoddessfrom Taras, Italyc. 480-470 BC -Style in Italy can vary -Stiff, conservative, not realism -Taras is a conservative center |
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Transition/ Early Classical ASicilian Charioteerc. 460 BC -Sicily -More naturalistic -Drapery clings: wet drapery -Started in Italy, not Greece untilhigh classical -Chiton racing costume |
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Transition/ Early Classical LudovisiThrone reliefc. 480-470 BC -Aphrodite born of the sea -Wet drapery -Werent allowed to show nudes inGreece, but in Italy they start to play with the idea -Greeks borrowed this stylistic ideafrom Italy, mechanism to explore the female body |
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Transition/ Early Classical LudovisiThrone reliefsc. 480-470 BC -Nude vs. extremely clothed -Italy, first cultural permissionshowing the female nude -Emphasis the nudity by contrastingwith a clothed female |
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Transition/ Early Classical Dancingmaenadfrom Locri, Italyc. 400 BC -Terracotta |
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Transition/ Early Classical Pan Painter Death of Aktaion, c. 470-460 BC -Athens -Artemis and Aktaion story -Criticizing the gods, artemis kills aktaion for falling In love with her. -His dogs kill him, and she is killing him to make sure -New style: longated ,thin figures, Artemis’ body twists, her foot is over the bottom line 2nd Image: -God pan: half goat half human creature -Wants to have sexual relations with the shepard boy -Pan cant control his sexual behaviors -Before peloponesian war and after the persian war (athens is at their best) -Hermes: phalic symbol with a phalic symbol |
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Transition/ Early Classical PanPainterc. 460 BC -long,narrow figures -Storyof herakles |
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Transition/ Early Classical Sphinxvasec. 470-460 BC -Rhyton -Sotades Painter -Trying to be innovative-Wine dispenser -Ancient greekversion of the keg |
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Transition/ Early Classical -Niobid Painter -Apollo and Artemis killing Niobe’s Children c. 460 BC -Know this one -Niobid vessel -Experimenting depth by stacking (foreground and background) -Line of landscape -criticizingthe gods -Story of Niobid family, 15-25 children, mother was important because of how many children she had, she bragged to Leto (mother of Artemis and Apollo) -Artemis and Apollo kill all the children |
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Transition/ Early Classical -Niobid painter -A Greek fighting an Amazonc. 460 BC -Another example of Niobid artist -Trying to create depth(shown in shield) -Tryingto mimic painters |
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Transition/ Early Classical -Douris painter -Ajax and Odysseus cupc. 480 BC -Praising government -After persian war -Top: fight over armor (after achilles dies) -Bottom: solution (vote) -For symposium,what to talk about |
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Transition/ Early Classical Penthesilea Painter 460 BC -Imitating painting -Jamming figures into circlethat doesn’t fit |
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Transition/ Early Classical Processionapproaching an altarc. 530 BC -Painting -More variety of color to createsense of depth-Creamywhite background -Overlappingof figures |
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Transition/ Early Classical Tombof the Diver, Poseidonia, Italy, c. 480 BC -Has been studieda lot -Italy -BordersEtruscans and Greek area, both styles -Etruscantomb, Greek art |
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Transition/ Early Classical -Wallform tomb of the Divers, c. 480 BC -Looks likefresco painting -Kleincouch for symposium: all male event -Womenparticipate in Etruscan symposiums -Greekartisan made this 2nd Image: -Paintedstucco on travertine slabs -Ceiling -Cist grave -Nature scene:Etruscan style -Greek:creamy white background, figures in the foreground |
