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70 Cards in this Set
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Female statuette, early Spedos variety Material: Marble sculpture Location/Style: Cycladic, Keros Date: EC Significance: folded arm figurine; one of the earliest figurines found in EC culture. Likely inspired from the Near East, they were produced in the Cyclades for the next ~500 years with little variation. Popular today because of its resemblance to 20th century abstract art. |
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Kamares jug, from Phaistos Material: Clay pottery Location/Style: Minoan, Kamares ware Date: MMII (1st Palace Period) Significance: Kamares ware; light-on-dark style with flat vegetal motifs and flowing patterns. Dynamic patterns and the light-on-dark style is emblematic of the early Minoan artistic work. |
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Minoan Palace at Knossos, Throne Room
Material: Architecture Location/Style: Knossos, Minoan Date: MMIII-LMI (2nd Palace Period) Significance: Located adjacent to the the main court, the throne room featured a ceremonial seat flanked by frescoes of griffins. Determined not to be the seat of a ruler or chief but probably that of a priestess or female deity, given the usage of griffins in Minoan art and the presence of the lustral basin across from the throne. |
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Figure of snake goddess Material: faience, ceramic Location/Style: Knossos, Minoan Date: MMIII-LMI (2nd Palace Period) Significance: Minoan statuette of a snake goddess made in Egyptian-style faience. Represents Minoan religion which heavily emphasized goddesses and snakes as representations of the riches and fertility of the earth. Her clothing in typical of high-class Minoan while her headdress is influenced by Near Eastern deities. |
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Bull with horns of gilded wood
Material: black stone rhyton with wood Location/Style: Knossos, Minoan Date: MMIII-LMI (2nd Palace Period) Significance: a rhyton from Knossos that showed wealth in ritual use of the elite. The bull was an extremely important icon of Minoan culture and religion (HoCs, sacrifices) and the deliberate smashing of the bull rhytons after use may have been a symbol of sacrifice. |
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Bull Jumping, from Knossos Material: fresco Location/Style: Knossos, Minoan Date:LMII-III (2nd Palace Period) Significance: the 'bull game' was on of the most distinctive elements of Minoan religion. The change in color of the leaper may represent a rite of passage into adulthood. |
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Xeste 3, Akrotiri: Women gathering saffron
Material: fresco Location/Style: Akrotiri, Thera Date: LCI Significance: Women and girls gathering saffron, a costly spice and yellow dye, in a rocky landscape. Saffron represented an important part of Thera's economy and had deep religious meaning as the collection of it was seen as sacred. This shows how centralized religion, and economy influenced early Aegean societies. |
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Frieze of a Expedition: West House Room 5
Material: fresco Location/Style: Akrotiri, Thera (Minoan style) Date: LCI Significance: shows 'Homeric' imagery which is unusual to find in the Cyclades, but suggests trade or other connection to the mainland. Seafaring imagery suggests some degree of connection with the mainland; which foreshadows the invasion of the Mycenaeans into the Cyclades and Crete. |
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Lerna, House of Tiles
Material: Architecture Location/Style: Lerna, Argolid (Mycenaean) Date: EHII Significance: Named after the clay roof tiles, it was one of the largest buildings in Greece at the time. Destroyed at the end of EHII, rather than rebuild it the people covered the ruins with an earthen mound and surrounded it with stones. |
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Stele with Spiral Motif and Chariot Scene Material: limestone sculpture Location/Style: Mycenae (Grave Circle A) Date: LHI Significance: grave stone marker above shaft grave at Grave Circle A in Mycenae. Represents a notable change from cist to shaft graves in Mycenaean culture and the development of markers to recognize the lavish graves of elite families/individuals. |
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Funerary mask "Agamemnon" from Mycenae Material: gold mask Location/Style: Mycenae, Helladic Date: LHI Significance: Grave good found in the grave circles at Mycenae. The graves contained more gold than what had been found in all of Crete before LMIII. The elite competition showed Mycenaean priorities; that allocating resources to graves was more important than communal defense/buildings |
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Inlaid Daggers found Tombs IV, V in Mycenae Material: bronze, gold, silver, niello Location/Style: Mycenae, Helladic Date: LHI Significance: Represents the exchange of goods overseas (gold, silver); gift exchanges were a crucial aspect of social interaction in the Bronze Age. Presence of lions on the blade show connection with Near Eastern motifs. |
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Treasury of Atreus tholos tomb Material: architecture (ashlar) Location/Style: Mycenae, Helladic Date: LHIII Significance: Most famous tholos tomb from Mycenae; became popular after LHI throughout the surrounding regions as another development in how elite could show their wealth to all, ending the Shaft Era -- became important not only to show wealth to your community, but to the entire region. |
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The megaron at Pylos Material: architecture Location/Style: Pylos, Helladic Date: LHII Significance: the megaron was the center of the Mycenaean palace style; most economic activity was controlled directly by the palace bureaucracy. The megaron had storage rooms on either side for storage of goods as well as workshops. |
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Pylos, Palace of Nestor Material: architecture Location/Style: Pylos, Helladic Date: LHII Significance: depicts the foundation of the megaron at Pylos. The storage rooms in the foreground often stored important goods like wool and olive oil that were jarred and exported from the palace. The palace can be seen to be zoned into difference sections, which were used for different activities -- storage, production, royal dwelling, etc. |
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Cult Center Wall Fresco, Mycenae
Material: fresco Location/Style: Mycenae (Helladic) Date: LHIII Significance: depicts a goddess accompanied by wheat and a griffin and large goddesses with a small worshipper. From the cult center outside Mycenae; religion was a central function of the palace system at Mycenae but cult centers are the only structure (since no temples yet) that show religious gathering areas. Rather religious events where mostly festivals, rituals, and processions. |
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Terracotta Psi Figurine, Mycenaean Material: terracotta sculpture Location/Style: Mycenae (Helladic) Date: LHIII Significance: figurines were often forms of offerings sent to deities in Mycenaean religion -- representing a shift from animal sacrifice. |
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Lion Gate at Mycenae Material: Cyclopean stone Location/Style: Mycenae (Helladic) Date: LHIII Significance: Hittite influence brought changes to stonecutting and wall construction. Mycenaean citadels began building enormous stone walls (Cyclopean) to both fortify the cities and make a symbolic statement about regional power/wealth. The size and use of lions emulate the Eastern Hittite capital of Hattusa. |
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Pilgrim's flask Material: terracotta pottery Location/Style: Palaikastro (Minoan) Date: LMI Significance: Minoan stirrup jar with Marine Style imagery. This style included large, flowing depictions of marine life that often were dynamic and covered the entire vessel. |
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Three Handled Amphora Material: clay pottery Location/Style: Crete (Minoan) Date: LMI Significance: Shows the influence of Mycenaean culture on classic Marine Style on Crete. The flowing imagery has been replaced with symmetrical, more structured artwork. Shows the merging of artistic style and culture after the Mycenaean invasion of Crete. |
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Stirrup jar with octopus Material: terracota pottery Location/Style: Mycenaean (Helladic) Date: LHIII Significance: A Mycenaean version of a Minoan style stirrup jar. The jar clearly shows the influence that Minoan Marine Style had even on the mainland given extensive trading but also the effect of Mycenaean interpretation -- they take the motifs of the original style and fit it into their own style. |
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Mycenaean Chariot Krater Material: Terracotta Location/Style: Found on Cyprus (likely made on Mainland Greece) Date: LHIIIB/ 1st half of 13th Century Significance: These types of vases were a commodity made on the mainland and often traded East. These vases are often connected with funeral practices and are found in tombs almost exclusively in Cryprus. Note that chariots were not effective on the Greek mainland and shows Eastern influences. |
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Mycenaean Krater Warrior's Vase Material: Clay Location/Style: Mycenae Date: 12 C. B.C. Significance: This shows Mycenaean warriors. Their type of dress and horned helmets were matched by the "Sea people" depicted in certain Egyptian art meaning at least some of them were Mycenaean in origin. These "sea people" raided throughout the Aegean during the 12th Century. |
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Smyrna: Oval House Plan Location/Style: Izmir (Turkey) Date: 900 B.C. Significance: This shows the regression in house styles in the Dark Ages. Very little monumental art and architecture during this period. |
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Apsidal Hall at Lefkandi, Euboia Location/Style: Lefkandi, Euboia Date: 10th Century Significance: One of the few examples of monumental architecture in this period. Burial site for a Hero and his wife. Some of the earliest evidence for cremation. Found artifacts that were hundreds of years old when buried in the grave. (i.e. Babalonian necklace c.a. 1800 B.C. and Cauldron c.a. 1200 B.C.) Addition of horses buried next to them hints at beginning of homeric culture. First example of Peristyle- Columns all around the building. Staple of Greek Architecture. |
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Belly-Handled Amphora Mid Geometric
Location/Style: Eleusis (Attica near Athens) Date: ca. 850 B.C. (Middle Geometric-From Book) Significance: Shows changes from Early to Middle Geometric. Decoration spread to cover more of the vase. Largest pattern bands mark the widest and narrowest parts of the vase. Again, belly handle indicates female burial. |
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Belly-Handled Amphora: Lying-in-State and Lamentations
Location/Style: Athens (From Dipylon Cemetery) Date: 8th Century B.C. (Late Geometric) Significance: Shows how pattern work has spread to entire vase in Late Geometric period. Patterns are Formulaic. Could be as large as a grown man. Inclusion of first figure scenes. These scenes focus on life and death of Athenian elites. |
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Terracotta Krater w/ Lid surmounted by small Hydra Location/Style: Found on Cyprus (From Euboia) Date: 750-740 B.C. (Late Geometric) Significance: Bears a depicition of "the tree of life" which shows connection to the East. Origins of Orientalizing Helps track Euboian contact with the Mediterranean world. Shows difference between Euboian and Attic styles during this time. Has three Handles. |
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Large Funerary Krater (Diplyon Krater) Attributed to Hirschfeld Painter
Location/Style: Athens? Date: 8th Century B.C. Significance: Shows the "Dipylon Style" based on the shields of the warriors. Shows how by Late Geometric period artists did not like blank space and added numerous decorations. Also sparks the discussion of whether Geometric vases are beginning to tell complete stories or not. Arms of figures around the dead show mourning. Below is a funeral Procession of chariots. |
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Reconstruction of the Temple of Apollo at Eretria
Location/Style: Eretria Date: ca 800 Significance: One of the first Sanctuaries to a god outside of the Rulers house. Foundations in Apsidal buildings. Soon replaced by a Hekatompedon, or hundred footer which was much bigger. Horseshoe plan. Shows shift from Aristocracy to communal ideas. West Gate Cemetery at Eretria |
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Mantiklos "Apollo" Statue
Location/Style: From Boiotia Date: 700 B.C. Significance: Small statue that is inscribed with writing dedicating it to Apollo from Mantiklos. Important because it shows one of the first instances of an inscription on a statue. People would know who donated this. Very Schematic and compartmentalized. |
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Pair of Griffin Promotes
Location/Style: From Olympia(book) From Samos(online description) Date: Late 7th Century (Orientalizing Period) Significance: Would have been put on Tripod Cauldrons as handles. Would have been donated/dedicated to a sanctuary and attests to the wealth/piety of the donor. Evenutally these heads would be made using a mold (technological advance) Shows influence of the East on Greek art. |
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Pointed Aryballos Location/Style: Proto-Corinthian Date: ca 660 B.C. Significance: Depicts Bellerophon and Chimera Example of the Black-figure Technique and incision. This allowed for much more detail and overlapping images on pottery. Would eventually be adapted by all Greeks and dominate Greek pottery for 200 years. Aryballos was used to carry scented oils. |
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"Chigi" Vase/Olpe Location/Style: Protocorinthian Syle From Corinth (Found in Etruscan Tomb) Date: 650-640 B.C. Significance: 1) One of the greatest examples of Protocorinthian style. Incredibly amount of detail. 2) Only representation of Hoplite formation in all of Greek art 3) Doesn't lump Scenes together and shows three distinct phases of a males life. 4) Uses many different styles |
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Corinthian Olpe: Lion Jug with Animal Friezes Location/Style: Corinthian Animal Style Date: 650-550 B.C.
Significance: Not totally sure/not in reading Shows how girffins and other eastern images are becoming standardized around the Aegean. |
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Oinochoe: Wild Goat Style
Location/Style: Rhodes, Wild Goat Style Date: 625 B.C.
Significance: Style developed in Southern Ionia. Repetitive bands of animals are found around the vase. Outline is common but incision is rare. Almost no human figures or narratives. |
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Neck Handled Amphora: From Analatos painter Location/Style: Attica, Early Protoattic style Date: early 7th Century (700-680 B.C.)
Significance: Early example of Athens adopting the Orientalizing style The advancements in decoration (i.e. incision, wavy lines, and vegetal motifs) allow scholars to distinguish individual painters. Eastern Influences can be seen with the sphinxes on top. |
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Proto-Attic Amphora from Eleusis: Blinding of Polyphemus, Running Gorgons
Location/Style: From Eleusis, Middle Proto-Attic Style Date: 675-650 B.C.
Significance: Black and White Style - Ends the full black figure style and uses white figures to depict important characters. Allows multiple scenes to be compressed into 1. There is no uniform depiction of mythological creatures yet. |
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'Nessos Amphora' Created by Nettos Painter: Herakles and Nessos, Gorgons chase Perseus. Location/Style: Athens, Dipylon Cemetery, Proto-Attic Date: ca 625-600 B.C.
Significance: Finally agreement as to what mythological creatures looked like. Athenians adopt Black-figure style with white outline. Athenians stopped putting Proto-Attic ware inside burial plots. Put them in a separate trenches. These Served as markers. |
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Kouros Front and Back Location/Style: Dedalic Style From Delphi Date: 650-625 B.C.
Significance: Based on an Orientalizing style. Similar to Egypt: Hair Style, Hands by their sides Different from Egypt: Dimensions are different, Compartmentalized body, Lack of clothing, and Free standing Originally from Crete and Mass produced through molds |
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'Triad Group' (Deity flanked by 2 goddesses): From temple of Apollo at Acropolis at Gortyn Location/Style: Gortyn (Crete) Dedalic Style Date: ca 650 B.C
Significance: First stone Agora in Greece. Three figures are in Egyptian style (Apollo, Leto, and Artemis). The women are naked which would not be the norm in later Greek statues. Shows transition to large scale statues. |
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Woman of Auxerre
Location/Style: From Crete, Date: 640-630 B.C. Significance: Very early example of Korai statue. Will be a formula for artists for generations to come. By adding or taking away certain elements can change the statue into a mortal or a Goddess. Start of female statues being Clothed.
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Nikandre from Delos Location/Style: Found at Delos Date: 660-650 B.C. Significance: Has an inscription dedicating the statue to a Goddess. Used proportions more commonly found in Egypt. Could be self representation or a goddess.
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Entablature Reconstruction; Temple of Apollo, Thermon
Material: architecture (wood/clay) Location/Style: Thermon (Doric style) Date: Orientalizing (625 BC)
Significance: part of a doric temple; unique because it was all wood (including columns) except for the metopes. These were painted, baked clay. Shows Perseus and the gorgons, thus an early example of the usage of gorgons as a temple motif symbolizing protection. |
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Temple of Apollo, Corinth
Material: architecture (stone) Location: Corinth Date: 6th century (540 BC) Significance: represents the starting point of Greek temple-style columns (stone). Usage of stone shows the competition between wealthy city-states as well as more centralized/organized resources to allow for more monumental constructions. Unique for its monolithic columns. |
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Temple of Hera, Olympia
Material: architecture (stone/wood) Location/Style: Olympia (Doric style) Date: 7th century Significance: foundation is stone but the columns were originally wood, thus significant evidence from the 7th century that the Doric order of temples started in wood before transitioning to stone. |
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Temple of Apollo, Syracuse
Material: architecture (stone) Location/Style: Syracuse (Archaic) Date: 6th century (570 BC) Significance: important because the very close spacing of columns showed that early archaic architects were concerned with the strength/security of stone architecture. Also shows the replacing of the back porch with an inner sanctuary (adyton). |
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Aeolic Order capital, Hermos
Material: stone Location/Style: Hermos (Aeolic) Date: 6th century Significance: the Aeolic capitals found at Hermos and Smyrna were seen as the proto-Ionic, or the precursors to the Ionic style. Note the early version of the volutes. |
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Temple of Hera IV, Samos
Material: architecture plan Location/Style: Samos (Archaic) Date: 6th century Significance: largest archaic temple in Greece in its time; was rebuilt four times. Notably was tripteral in the front/back. Significant because it was never finished, but showed signs that columns were reused from past versions. |
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Porch of Temple of Artemis, Ephesos
Material: architecture Location/Style: Ephesos (Ionic) Date: 6th century Significance: columns on the porch portrayed sculpted worshippers bringing gifts to the gods. Connects the association of Ionic columns with votive offerings (similarity to the stands that offerings would sit on). |
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Ionic Capital at the Temple of Artemis IV, Ephesus
Material: architecture (stone) Location/Style: Ephesos (Ionic) Date: 6th century Significance: shows a Ionic capital; has the prototypical volutes, the thin abacus, and the connection to the fluted column. |
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Temple of Artemis, Corfu
Material: sculpture (stone) Location/Style: Corfu (Doric) Date: 6th century Significance: one of the largest gorgon pediments, which is a reference to the clay caps on wood roof tiles. Gorgon is flanked by panthers and the battle of Gods and Giants is shown in the corners (one of the most famous depictions). Shows the "past, present, and future" of gorgons in a single frame (gorgons helped fight with the giants). |
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Lion Attacking a Bull; Temple of Athena Polias, Athens
Material: sculpture (limestone) Location/Style: Athens (Doric) Date: 6th century Significance: significant in that the lion/bull motif became stock imagery for many temples. Interesting because the sculptor obviously was not familiar with real lions bc he gave a lioness a mane. This motif was common in the Near East where it was synonymous with royal power. |
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Metope of Temple C, Selinous
Material: sculpture (limestone) Location/Style: Selinous (Doric) Date: 6th century (560 BC) Significance: found at the temple of an unknown god. Metope shows Athena helping Perseus kill Medousa who is holding Pegasos. Interestingly, all the characters look out to the viewer rather than being in profile, all showing the 'archaic smile'. |
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Dinos: 'Procession of the Gods at the Marriage of Peleus and Thetis'
Material: pottery (dinos) Location/Style: Sophilos (Archaic) Date: 6th century Significance: possibly painted by the son of the "Gorgon painter". Shows the marriage at which the judging of Paris and birth of Achilles are related. Style includes a lot of detail and incisions and is reminiscent of doric columns. |
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'Francois Vase' by Ergotimos & Kleitias
Material: pottery (ceramic krater) Location/Style: made in Athens (Archaic) Date: 6th century (570 BC) Significance: the 'masterpiece of Athenian black-figure style'. Significant for how the mythological narrative fills the entire vase; notably showing narratives related the Achilles. Marriage was perhaps a theme, but the scenes do not put marriage in a strong light -- more likely it was a talking point about wine (Dionysus) to be displayed at a symposium. |
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Kylix: Eye Cup by Phineus Painter
Material: pottery (ceramic) Location/Style: Archaic Date: 6th century (540 BC) Significance: these drinking cups were notable for their playful style -- when brought to the face they made a mask. They likened getting drunk to changing one's character and in some views transforming the person (i.e. the mask). |
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"Neck-Handled Amphora: Achilles Killing Penthesilea" by Exekias
Material: pottery (ceramic) Location/Style: from Attica (Archaic) Date: 6th century (530 BC) Significance: The scene is notable for the way it draws attention to the eyes of the characters as well as the to the overlapping of the spears, arms, and feet. It included an inscription that was a statement of beauty of a youth -- because it was for a symposium, the statement would be a talking point about the youth's attractiveness. |
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"Black-figure Amphora: Achilles & Ajax playing dice" by Exekias
Material: pottery (ceramic) Location/Style: Attica? (Archaic) Date: 6th century (550 BC) Significance: Exekias was famous for his depiction of detailed, "quiet", or "pregnant" moments. This shows the calm before the Battle of Troy in which Achilles dies -- thus, using the viewer's knowledge of myth to create a ominous moment. |
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"Neck Handled Amphora: Ajax prepares to kill himself" by Exekias
Material: pottery (ceramic) Location/Style: Attica? (Archaic) Date: 6th century (540 BC) Significance: Exekias portraying 'epic solemnity' in the suicide of Ajax. Notably shows the detail of the gorgon looking out at the viewer, the armour looking down upon Ajax, and a 'solemn' palm tree on the side. A classic example of Exekias' ability to portray a quiet, but highly intense, moment. |
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Lakonian Black-Figure cup by Hunter Painter: Cerberus Led from the Underworld
Material: pottery (ceramic) Location/Style: Lakonia (Sparta) Date: 6th century (550-525 BC) Significance: Attests to a level of luxury at odds with later accounts of Sparta as a severe militaristic state. Lakonian pottery ceased production rather abruptly in the last third of the 6th century. |
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Marble Statue of a Kouros (youth)
Material: Marble, Naxian Location/Style: Attic, Archaic style Date: 590-580 B.C. Significance: Found near a Grave in Phoinikia in Attica. Statue is not entirely nude as he wears a choke necklace. Is in the classic one foot forward pose. Due to the method with which the marble was cut this pose appears very rigid and almost inhuman. These statues do not necessarily represent someone in particular. Instead it represents an idealistic beauty. |
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Kuoros from Heraion of Samos
Material: Blue Marble Location/Style: Samos Date: 580 B.C. Significance: This was dedicated by Iskhys at the sanctuary of Hera on Samos. This statue is more fleshy and not as 'cut' as some. This shows how different areas of Greece had different ideas about manly beauty. This shows how the Greek style of statue closely resembled the Egyptian one in pose. The pose of the statue is largely due to the grid style used to make them. However, it varied from the Egyptian statue in terms of proportions. The hands are still slightly attached to the body |
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Kouros from Anavyssos
Material: Marble Location/Style: Archaic Style Phoinikia Date: 540-500 B.C. Significance: This was from a grave near Phoinikia in Attica. The inscription tells us that it is to commemorate a man who died in battle. Here the statues hands are not attached to the body at all showing that sculptors were getting better. Sometimes wrongly Identified as Croesus. It is beginning to lose its blockiness. Edges are softening. Again, shows how sculptors are relying less on drawing and are doing it in 3-D |
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'Berlin Goddess" Front View
Material: Marble Style/Location: Archaic (Attica) Date: 580-570 B.C. Significance: This statue has its arm bent and is holding a pomegranate and the position connotes fertility. It also still has some paint left on it. This is important because it highlights the differences between male Kouros and the female Kore. Also, helps show the changes in Kore over a generation when compared to the Phrasikleia Kore. |
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Phrasikleia Kore
Material: Marble Style/Location: Attica Date: 540 B.C. Significance: This Kore helps denote the differences in style over a generation when compared to the Berlin Goddess Kore. The pose has changed and the generally cylindrical shape suggest Eastern Influences. This statue has an inscription marking it as a marker for the grave of a young unmarried girl named Phrasikleia. Dying a virgin was the equivalent for a woman of dying in battle for a man. Found next to a male statue. Name of the Sculptor was put on the Statue. (Ariston of Paros) |
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Peplos Kore (Probably an image of Artemis)
Material: Marble Style/Location: Archaic (Athenian Akropolis) Date: 530 B.C. Significance: This statue does not wear a peplos and she is not a Kore. Most likely the Anatolian fertility goddess (notably Artemis of Ephesos). Shares many similarities with the Rampin Rider. Her hand could have potentially held a bow. |
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Korai from the Akropolis of Athens
Material: Marble Style/Location: Archaic/Athens Date: 530-515 B.C. Significance: We see a different clothing style. This statue is holding up her dress to help her walk. These statues are doing more "human like" things. This produces a complex pattern of folds in three dimensions. The third dimension has finally been "Cracked" |
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Calf-Bearer Moscophoros
Material: Marble Style/Location: Athenian Akropolis Date: 570 B.C. Significance: Dedicated by Rhonbos. The mans arms and the calf's legs cross to form a perfect x. This statue embodies the exchange relationship of religion with the offering of a calf. The Calf's and man's eyes are at the same level. The calf is looking directly out at you. This Statue has a beard. Meaning he is older. This is a break from usual style where they were young mean of idealistic beauty. He is wearing a cloak giving him a specific identity. |
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Stele of Aristion
Material: Marble Style/Location: Attica Date: 510-500 B.C. Significance: Signed by Aristokles. He wears the armor of a Hoplite. His face was painted a different color than his body. This is supposed to depict the man whose grave it marks. Attic sculptors do not render men nude in relief or clothed in free standing sculpture. It is a difference of Iconography. Men on these Steles are almost always holding something. Common for warriors or Athletes |
