Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
57 Cards in this Set
- Front
- Back
|
The Treasury of Atreus is an excellent example of a(n): |
tholos tomb |
|
|
Minoan columns are distinguished by: |
tapering shape and bulbous capitals |
|
|
Significant numbers of small marble figurines representing naked women with arms folded over abdomens have been found in: |
the Cyclades islands |
|
|
Name a palace on Crete. |
Knossos |
|
|
Who or what was the Minotaur? |
hall bull, half man |
|
|
Evident in the absence of a pediment and a roof, the Temple of Apollo, Didyma, reflected the ability of Hellenistic architecture to... |
copy the parthenon exactly |
|
|
The Geometric krater would most likely be found in which of the following? |
an athenian cemetary of the geometric period |
|
|
A standing nude figure of a young man is known in Greek art as which of the following? |
kouros |
|
|
Which of the following conclusions could be drawn regarding the Athenians perception of themselves based on the Panathenaic Festival frieze from the Parthenon? |
had high opinions of their own worth |
|
|
Who is usually given credit for the inventions of the red-figure technique as seen in the amphora of "Achilles and Ajax playing a dice game"? |
Andokides painter |
|
|
In the statue of Athena Parthenos, what did she hold that made an overt reference to the Athenians victory over the Persians in 479 BC? |
a winged Nike figure |
|
|
The earliest known example of the use of contrapposto is the sculpture known as the... |
kritios boy |
|
|
Evident in the three goddesses on the Parthenon...was one of the main changes that took place in the representation of the female figure in the High Classical Period. |
clingy drapery that follows the contours of the body |
|
|
When compared to the classical style, greek hellenistic art could be characterized as: |
more realistic and emotional |
|
|
... is the historical event that ushered in the beginning of the Classical period. |
defeat of the Persians |
|
|
Early Archaic monumental stone statues followed Egyptians style very closely. This style can be described as... |
rigidly frontal left foot slightly advance |
|
|
A female figure used as an architectural support was known as a: |
caryatid |
|
|
The earliest known Greek temple with sculptural decoration is... |
Temple A, Prinias |
|
|
During the Greek orientalizing period, Greek vase decoration, which consisted of rows of composite creatures and exotic animals, was influenced by... |
Egyptian and Mesopotamian art |
|
|
In using...the pedimental sculptures of the temple of aphaia at aegina were better adapted to its triangular shape than those of earlier archaic temples. |
Statues of equal size but in different poses |
|
|
Originally titled the canon, Polykleito's doryphoros reflects the artist's believe that a perfect statue... |
was constructed according to a mathematical formula |
|
|
Which structure from the Athenian acropolis has four sides of very different character with each side resting on different ground levels? |
Erechtheion |
|
|
What scene is represented on the attic white-ground lekythos painted by the so-called achilles painter? |
warrior taking leave of his wife |
|
|
Although the propylaia mainly functioned as the gateway to the athenian acropolis, described as a pinakotheek, one of its rooms was reportedly a... |
picture gallery |
|
|
In the archaic period the black-figure style of vase painting was replaced by the...style. |
red-figure |
|
Figurine of a Woman (Importance) |
Title: Figurine of a Woman Importance: the sculptor rendered the female body schematically as a series of triangles, cycladic art, frontal view |
|
Male Harp Player (Importance) |
Title: Male harp player Importance: this musician may be playing for the deceased in the afterlife, the statuette displaces simple geometric shapes and flat planes, cycladic art, could be priest musician, organic quality such as in egyptian tombs, probably originally painted |
|
Aerial View of the Palace at Knossos (Importance) |
Title: Aerial view of the palace at Knossos Importance: the largest palace on crete, home of king minos, central court surrounded by residential and administrative units, mazelike plan, gave rise to myth of the mintaur in the labyrinth, complex in elevation, minoan art |
|
Bull Leaping (Importance) |
Title: Bull Leaping Importance: the subject of the knossos frescoes are often ceremonial scenes, the woman have fair skin and the man has dark skin which is common in ancient painting, bulls were important |
|
Marine Style Octopus Jar (Importance) |
Title: Marine Style Octopus Jar Importance: marine style vases have dark figures on a light ground, the tentacles of the sea creature reach out over the curving surface of the vessel to fill the shape perfectly, octopus is a food source, artist used shape of jar to depict organic movement of nature |
|
Snake Goddess (Importance) |
Title: Snake Goddess Importance: may represent a priestess but is more likely a bare-breasted goddess, the snakes in her hands and the feline on her head imply that she has power over the animal world, from palace at Knossos, women wore open bodices, trying to instill fear in the viewer |
|
Treasury of Atreus (Importance) |
Title: Treasury of Atreus Importance: the largest sculpture in the prehistoric aegean is the relief of confronting lions that fills the relieving triangles of mycenaes main gate, the gate itself is two great monoliths and a huge lintel, best preserved mycenaean tholos tomb, beehive shaped |
|
Funerary Mask (Importance) |
Title: Funerary Mask Importance: comes from a royal shaft grave, it is one of the first attempts at life size sculptures in Greece, used to be called the mask of agamemnon, discovered by schleimen, used rebousse and chasing (embossing) technique |
|
Warrior Vase (Importance) |
Title: Warrior Vase Importance: shows a woman bidding farewell to a column of heavily armed warriors depicted using silhouette and outline and a combination of frontal and profile views, has distinct mycenaean style, leads to assume they were under siege, exaggerated nose, simple, redundant, cartoonish, more naturalistic than minoan |
|
Geometric Krater (Importance) |
Title: Geometric Krater Importance: figure painting returned to greek art in the geometric period, named for the abstract motifs on vessels such as this funerary krater featuring a mourning scene and precession in honor of the deceased, competitive in ceramics, some used as grave markers, geometric patterns, figural type from egyptian and minoans
|
|
Mantiklos Apollo (Importance) |
Title: Mantiklos Apollo Importance: mantiklos dedicated this statuette to apollo and it probably represents the god, the treatment of the body reveals the interest 7th century greek artists had in representing human anatomy, big eyes, frontality, narrow waist, broad shoulders like in egyptian art, stylized in manner |
|
Achilles and Ajax playing a dice game (Importance) |
Title: Achilles and Ajax playing a dice game Artist: Andokides Painter Importance: the andokides painter invented the red-figure technique, copied exekias' achilles and ajax |
|
Temple of Aphaia (Importance) |
Title: Temple of Aphaia Importance: doric design, the columns are more slender and widely spaced, the restored view suggests how colorful greek temples were, the designer solved the problem of composing figures in a pediment by using the whole range of body postures from upright to prostrate, archaic smile on figures |
|
Kritios Boy (Importance) |
Title: Kritios Boy Importance: first statue to show how a person naturally stands, the sculptor depicted the weight shift from one leg to the other (contrapposto), the head turns slightly and the archaic smile is gone |
|
Zeus (or Poseidon?) (Importance) |
Title: Zeus (Or Poseidon?) Importance: the statue boldly extends both arms and raises his right heel off the ground underscoring the lightness and stability of hollow-cast bronze statues |
|
Battle of Issus (Importance) |
Title: Battle of Issus Artist: Philoxenos of Eretria Importance: battle of issus reveals philoenos's mastery of foreshortening, of modeling figures in color, and of depicting reflections and shadows as well as his ability to capture the psychological intensity of warfare, use of tessarae, scene of sourtheastern turkey, copy of panel painting |
|
Reconstructed west front of the altar of zeus (Importance) |
Title: Reconstructed West Front of the Altar of Zeus Importance: the gigantomachy frieze of pergamon'smonumental altar of zeus is almost 400 feet long, the battle of gods and giants alluded to the victory of king attalos 1 over the gauls of asia minor, the battle scenes on altar frieze have an emotional power unparalleled in early greek art, violent movement, swirling draperies, and vivid depictions of suffering |
|
Venus De Milo (Importance) |
Title: Venus De Milo Artist: Alexandros of Antioch-on-the-meander Importance: displaying the eroticism of many hellenistic statues, this aphrodite is more overtly sexual than the knidian aphrodite, the goddess's slipping garment teases the spectator, face is classical |
|
Kouros (Compare and Contrast) |
Title: Kouros Culture: prehistoric aegaean Time Period: Archaic Date: 600 BCE Importance: the sculptors of the earliest life-size statues of kouroi (young men) adopted the egyptian pose for standing figures but koroi are nude and liberated from the stone block, one of the earliest examples of life-size statuary, figure is rigidly frontal with left foot advanced slightly, arms held beside the body, fists clenched with thumbs forward, funerary statue, narrow waist, big eyes, long neck, stylized hair |
|
Kroisos (Compare and Contrast) |
Title: Kroisos Culture: prehistoric aegaean Time Period: archaic Date: 530 BCE Importance: this later kouros stood over the grave of kroisos a young man who died in battle, the statue displays more naturalistic proportions and more rounded modeling of face torso and limbs, archaic smile, stylized |
|
Peplos Kore (Compare and Contrast) |
Title: Peplos Kore Culture: prehistoric aegaean Time period: Archaic Date: 530 BCE Importance: women are always clothed in archaic statuary because they are seen as imperfect, this kore is a votive statue of a goddess wearing four garments, she held her identifying attribute in her missing left hand, traces of encaustic paint, clothed, becoming more natural, peplos (a simple long woolen belted garment) |
|
Restored view of the Siphnian Treasury (Compare and Contrast) |
Title: Restored view of the Siphnian Treasury Culture: prehistoric aegaean Time Period: Archaic Date: 530 BCE Importance: the ionic treasury the siphnians erected in apollos sanctuary had caryatids in the porch and sculptures in the pediment and frieze, greek friezes were brightly painted, the siphnian frieze also had painted labels identifying the various gods and giants, some of the figures held metal weapons |
|
Chariot race of Pelops and Oinomaos (Compare and contrast) |
Title: Chariot race of Pelops and Oinomaos Culture: prehistoric aegaean Time period: Early Classical Date: 470-456 BCE Importance: the east pediment of the zeus temple depicts the legendary chariot race across the peloponnesos from olympia to corinth, the actors in the pediment faced the starting point of olympic chariot races, the balding seer is a rare depiction of old age, apollo was the epitome of calm rationality, herakles founded the olympic games |
|
Doryphoros (Compare and Contrast) |
Title: Doryphoros Artist: Polykleitos Culture: prehistoric aegaean Time period: early classical Date: 450 - 440 BCE Importance: polykleitos sought to portray the perfect man and to impose order on human movement, he achieved his goals through harmonic proportions and a system of cross balance for all parts of the body, originally titled canon, harmony of opposites |
|
Parthenon (Compare and Contrast) |
Title: Parthenon Artist: leader - Pericles Culture: Prehistoric aegaean Time period: early classical Date: 447 - 438 BCE Importance: the acropolis was reconstructed under the leadership of pericles after the persian sack of 480 BCE, the funds came from the delian league treasury, the first building to be erected was the parthenon then the propylaia next the erechtheion and the temple of athena nike, iktinos (artist) believed harmonic proportions produced beautiful buildings, parthenon ratio is x=2y+1, the parthenon was decorated with statues in both pediments, the parthenons centauromachy metopes allude to the greek defeat of the persians, the east pediment depicts the birth of athena, the parthenon's ionic frieze represents the panathenaic procession of citizens on horseback and on foot under the gods' watchful eyes |
|
Erechtheion (Compare and Contrast) |
Title: Erechtheion Artist: Pericles Culture: prehistoric aegaean Time period: early classical Date: 421 - 405 BCE Importance: the erechtheion is in many ways the antithesis of the doric parthenon directly across from it, it is an ionic temple that has some of the finest decorative details of any ancient greek building, the asymmetrical form of the erechtheion is unique for a greek temple, it reflects the need to incorporate preexisting shrines into the plan, the south porch features caryatids with contrapposto stances, they are updated versions of the archaic caryatids of the porch of the siphnian treasury |
|
Aphrodite of Knidos (Compare and Contrast) |
Title: Aphrodite of Knidos Artist: Praxiteles Culture: prehistoric aegaean Time Period: late classical Date: 350 - 340 BCE Importance: the first nude statue of a greek goddess, praxiteles was also famous for his ability to transform marble into soft flesh, his aphrodite had 'dewy eyes', sensuous and humanizing qualities |
|
Apoxyomenos (scraper) (Compare and contrast) |
Title: Apoxyomenos (scraper) Artist: Lysippos Culture: prehistoric aegaean Time Period: late classical Date: 330 BCE Importance: lysippos introduced a new canon of proportions and a nervous energy to his statues, he also broke down the dominance of the frontal view and encouraged viewing his statues from multiple angles, subject area is expanding |
|
Gallic chieftain killing himself and his wife (compare and contrast) |
Title: Gallic chieftain killing himself and his wife Artist: Epigonos Culture: prehistoric aegaean Time period: late classical Date: 230 - 220 BCE Importance: the defeat of the gauls was the subject of pergamene statuary groups, Dying gaul - a pergamene sculptor depicted this defeated gallic trumpeter and other gauls as barbarians |
|
Nike of Samothrace (compare and contrast) |
Title: Nike of Samothrace Culture: prehistoric aegaean Time period: hellenistic Date: 190 BCE Importance: one of the masterpieces of hellenistic baroque sculpture, statue on a greek warship, the statue's setting amplified the theatrical effect, used to be on a fountain |
|
Old market woman (compare and contrast) |
Title: Old market woman Culture: prehistoric aegaean Time period: hellenistic Date: 150 - 100 BCE Importance: consistent with the realism of much hellenistic art, many statues portray the elderly of the lowest rungs of society, earlier greek artists did not consider them suitable subjects for statuary |
|
Laocoon and his sons (compare and contrast) |
Title: Laocoon and his sons Artist: Athanadoros, Hagesandros, and Polydoros of Rhodes Culture: prehistoric aegaean Time period: hellenistic Date: early 1st century Importance: hierarchy of scale, from mythology, 1506 found in the presence of michelangelo, lot of emotion and motion |
