Chapter 5 - Ancient Greece

Front 1

Periods in Ancient Greece

Back 1

-Geometric
-Orientalizing
-Archaic
-Early/High/Late classical
-Hellenistic

Front 2

Key characteristic of period

Back 2

-Optical refinements in art
-Emphasis on human form and mathematics
- Heroic nudity
-Woman not depicted nude until Late Classical period
-Status of artist becomes important
-Woman less then equal
-column orders

Front 3

Greeks never formed a single nation, instead they had..

Back 3

Polis - independent city states that were self governing

Front 4

The Polis gave rise to

Back 4

The Olympics!
and the development of intellectual contests

Front 5

Examples of some of the Intellectual contests between Polis

Back 5

-Philosophy
-Politics
-Cult of genius
-Artist competing for fame

Front 6

3 methods of Vase painting are

Back 6

-black figure painting (figures on a colored background made by slips of clay painted on and oxidized)
-red figure method (reverse of black figure)
-white ground technique (chalky white slip, colors painted on)

Front 7

Geometric krater, from the Dipylon cemetery, Athens, Greece,
ca. 740 bce. 3 41–2  high.Metropolitan Museum of Art, New York

Back 7

-Geometric Period, Ancient Greece
- Figure painting reappeared in Greece in the Geometric period, named for the abstract ornamentation on vessels like this krater, which features a mourning scene and procession in honor of the deceased
-no bottom
-placed on grave and visitors would pour in libations in honor of dead

Front 8

Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 bce. Bronze, 8 high.Museum
of Fine Arts, Boston.

Back 8

- Orientalizing period, Ancient Greece
- probably represents the god Apollo
-Shows increased interest Greek artists at this time had in reproducing details of human anatomy,

Front 9

Life sized statues of young men depicted nude were called?

Back 9

Kouroi, adopted the Egyptian pose for standing figures with one foot forward

Front 10

Life sized statues of young maidens were called?

Back 10

kore; plural, korai

Front 11

Kouros, ca. 600 bce. Marble, 6 1–2  high.Metropolitan Museum
of Art, New York.

Back 11

-Archaic Period, Ancient Greece
- earliest life-size statues of kouroi (young men)
-liberated from original stone block
- non-distinct features used to represent gods

Front 12

Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 bce.
Marble, 4 high. Acropolis Museum, Athens

Back 12

-Archaic Period, Ancient Greece
-women are always clothed in Archaic statuary
- female form rendered softer and more natually

Front 13

Exekias, Achilles and Ajax playing a
dice game (detail from an Athenian black-figure
amphora), from Vulci, Italy, ca. 540–530 bce.
Whole vessel 2 high; detail 81–2 high.Musei
Vaticani, Rome

Back 13

-Archaic Period, Ancient Greece
-Andokides Painter invented the redfigure technique.
- Some of his early vases are “bilingual”—that is, the same scene appears on both sides, one in black-figure and one in red-figure

Front 14

Euphronios, Herakles wrestling
Antaios (detail of an Athenian red-figure
calyx krater), from Cerveteri, Italy, ca. 510 bce.
Whole vessel 1 7 high; detail 73–4  high.
Louvre, Paris.

Back 14

-Archaic Period, Ancient Greece
-rejected the age-old composite view for his depiction of Herakles and the giant Antaios and instead attempted to reproduce how the human body is seen from a particular viewpoint.

Front 15

Kritios Boy, from the Acropolis,
Athens, Greece, ca.
480 bce.Marble, 3 10 high.
Acropolis Museum, Athens.

Back 15

- Early Classical Period, Ancient Greece
-first statue to show how a person naturally stands called contrapposto
-contrapposto(counterbalance), separates Classical from Archaic Greek statuary
-Archaic smile is gone

Front 16

Zeus (or Poseidon?), from the sea off Cape Artemision, Greece,
ca. 460–450 bce. Bronze, 6 10 high. National Archaeological Museum,
Athens.

Back 16

-Early Classical Period, Ancient Greece
- underscores the lightness and stability of hollow-cast bronze statues
-might have held a thunderbolt, less likely that he held a trident

Front 17

Polykleitos, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze
original of ca. 450– 440 bce, 6 11 high.
Museo Archeologico
Nazionale, Naples

Back 17

-Classical Period, Ancient Greece
-sought to portray the perfect man and to impose order on human movement by employing harmonic proportions and a system of cross balance for all parts of the body.
-most frequently copied Greek statues
-contrapposto more pronounced than ever
-dynamic asymmetrical balance, this motion while at rest, and the resulting harmony of opposites are the essence of the Polykleitan style.

Front 18

Acropolis, Athens, Greece

Back 18

-Classical period
- rebuilt after the Persian sack of 480 BCE
-funded through tribute funds that were to fight against Persians, the Delian League treasury.
-Fidius designed all sculptures

Front 19

Name Buildings in the Acropolis

Back 19

-Parthenon
-Propylaia
-pinakotheke
-Erechtheion
-Temple of Athena Nike.

Front 20

Propylaia

Back 20

- contained a library and art gallery (one of the first) and ramps for chariots
-Doric order for the stately exterior and the Ionic only for the interior
-entrance of Acropolis

Front 21

Parthenon (Temple of Athena
Parthenos, looking southeast),Acropolis,
Athens, Greece, 447–438 bce.

Back 21

-architects of the Parthenon believed
that perfect beauty could be achieved by using harmonic proportions. The ratio for larger and smaller parts was x = 2y  1 (for example, a plan of 17  8 columns).
- adjustments made to compensate for optical illusions lead to structure being irregular in shape
-Parthenon decorated Statues
filled both pediments, and figural reliefs
adorned all 92 metopes. There was also inner 524-foot sculptured Ionic frieze
-Dedicated to Athena the virgin
-peripteral architecture, a system of columns made for mass not space.
-2 rooms inside, main room with statue of Athena and the Parthenos (room for the treasury)
-Stairs are stylobate, there are big ones for looks and smaller ones for climbing

Front 22

Phidias, Athena Parthenos, in the cella of the Parthenon,
Acropolis, Athens, Greece, ca. 438 bce. Model of the lost
chryselephantine statue. Royal Ontario Museum, Toronto

Back 22

-Classical period
-Within the parthenon
-Phidias’s 38-foot-tall gold-andivory statue of Athena Parthenos (the Virgin), fully armed and holding Nike (Victory) in her extended right hand.
-the facade was eight columns at a time
when six columns were the norm due to size of statue

Front 23

Details of the Panathenaic
Festival procession frieze, from the
Parthenon, Acropolis, Athens, Greece,
ca. 447–438 bce.Marble, 3 6 high.
Horsemen of north frieze (top),
British Museum, London; seated gods
and goddesses (Poseidon, Apollo,
and Artemis) of east frieze (center),
Acropolis Museum, Athens; and elders
and maidens of east frieze (bottom),
Louvre, Paris

Back 23

-inner frieze of Parthenon depicts the procession that would occur every 4 years, 2 girls would be chosen to embroider a clock for Athena
-Starts excited and gets orderly toward the door
-seated gods above the door watching the event

Front 24

Metopes and triglyphs

Back 24

three stones(triglyphs) alternating with a panel depicting a scene (Metopes)

Front 25

Lapith versus centaur, metope from the south side of the
Parthenon, Acropolis, Athens, Greece, ca. 447–438 bce.Marble,
4 8 high. British Museum, London

Back 25

-Aludes to Greek defeat of the Persians. The sculptor of this metope knew how to distinguish
the vibrant living centaur from the lifeless Greek corpse

Front 26

Pediment

Back 26

pediment is an element in classical, neoclassical and baroque architecture, and derivatives therefrom, consisting of a gable, originally of a triangular shape, placed above the horizontal structure of the (entablature), typically supported by columns. The tympanum, or triangular area within the pediment, was often decorated with relief sculpture depicting scenes from Greek and Roman mythology or allegorical figures.

Front 27

Helios and his horses, and Dionysos (Herakles?), from the east pediment of the Parthenon, Acropolis,
Athens, Greece, ca. 438–432 bce.Marble, greatest height 4 3. British Museum, London

Back 27

- east pediment depicted the birth of
the goddess from the brow of Zeus
-On Athena's birthday the sun shines on her birth sculpture and statue in the temple

-west pediment is a battle between Athena and Poseidon for the city

Front 28

Temple of Athena Nike (looking southwest),
Acropolis, Athens, Greece, ca. 427–424 bce.

Back 28

-Ionic temple at the entrance to the Acropolis is an unusual amphiprostyle(four columns on both
the east and west facades) building. It celebrated Athena as bringer of victory, and one of the friezes depicts the Persian defeat at Marathon.
- victory of Athena over Poseidon correlates to the victory of Greeks over Persia

Front 29

Achilles Painter,Warrior taking leave of his wife (Athenian
white-ground lekythos), from Eretria, Greece, ca. 440 bce. 1 5 high.
National Archaeological Museum, Athens

Back 29

-Classical Period, Ancient Greece
-White-ground painters applied the colors after firing because most colored glazes could not withstand the kiln’s heat.
-decorated with a scene appropriate for its funerary purpose

Front 30

Late Classical Period changes

Back 30

-complete change from action pose to relaxed stance
-humanizing of the gods coincides with internal strife in Athens, wars with everyone
-more emphasis on individual, personal quest for knowledge

Front 31

Praxiteles, Aphrodite of Knidos. Roman marble copy of an
original of ca. 350–340 bce, 6 8 high.Musei Vaticani, Rome

Back 31

-Late Classical Period, Ancient Greece
-first nude statue of a goddess caused a sensation in the fourth century BCE. But Praxiteles was also famous for his ability to transform marble into soft and radiant flesh
-new approach to art
-originally commissioned to do 2 sculptures, one was nude

Front 32

Praxiteles(?), Hermes and the infant
Dionysos, from the Temple of Hera, Olympia,
Greece. Copy of a statue
by Praxiteles of ca. 340
bce or an original work
of ca. 330–270 bce by a
son or grandson.Marble,
7 1 high. Archaeological
Museum, Olympia

Back 32

-Late Classical Period, Ancient Greece
-Praxiteles humanized the Olympian deities. This
Hermes is as sensuous as the sculptor’s Aphrodite.
The god gazes dreamily into space while he
dangles grapes as temptation for the infant
god of wine.
-statues more accessible to viewer, moving inter viewer's space

Front 33

Gnosis, Stag hunt, from Pella, Greece, ca. 300 bce. Pebble
mosaic, figural panel 10 2 high. Archaeological Museum, Pella.

Back 33

-Late Classical Period, Ancient Greece
-floor mosaics at the Macedonian capital of Pella are of the early type made with pebbles of various natural colors. This stag hunt by Gnosis bears the earliest known signature of a mosaicist
-much in common with red-figure painting but uses of light and dark to suggest volume that is rarely seen on Greek painted vases

Front 34

Polykleitos the Younger,
Theater, Epidauros, Greece,
ca. 350 bce.

Back 34

-Late Classical Period, Ancient Greece
-The Greeks always situated their theaters on hillsides, which supported the cavea of stone seats
overlooking the circular orchestra. The Epidauros theater is the finest in Greece. It accommodated 12,000 spectators.
-basis of future theaters
-excellent acoustics, everyone could hear the
actors and chorus

Front 35

Epigonos(?), Dying Gaul. Roman
marble copy of a bronze original of ca.
230–220 bce, 3 1–2  high. Museo Capitolino,
Rome.

Back 35

-Hellenistic Period, Ancient Greece
-The Gauls in the Pergamene victory groups
were shown as barbarians with bushy hair,
mustaches, and neck bands, but they were
also portrayed as noble foes who fought to
the end.
-lots of emotion

Front 36

Nike alighting on a warship (Nike of Samothrace), from
Samothrace, Greece, ca. 190 bce.Marble, figure 8 1 high. Louvre, Paris

Back 36

-Hellenistic Period, Ancient Greece
-Victory has just landed on a prow to crown a victor at sea. Her wings still beat, and the wind sweeps her drapery.
- placement of the statue
in a fountain of splashing water heightened the dramatic visual effect.

Front 37

Athanadoros, Hagesandros,
and Polydoros of Rhodes, Laocoön
and his sons, from Rome, Italy, early
first century ce.Marble, 7 101–2  high.
Musei Vaticani, Rome.

Back 37

-Hellenistic Period, Ancient Greece
-Hellenistic style lived on in Rome.
Although stylistically akin to
Pergamene sculpture, this statue of sea
serpents attacking Laocoön and his two
sons matches the account given only in
the Aeneid.
-sent the serpents to punish Laocoön,
who had tried to warn his compatriots about the danger of bringing the Greeks wooden horse within the walls of their city