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46 Cards in this Set
- Front
- Back
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Cycladic Figurines
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Art of the Cyclades Islands, 2000-3000 BCE
Anonymous Height varies from a few inches to almost life size Found in graves and settlements Nude, Arms fold across abdomen Represent either dead woman or fertility figures Painted eyes, mouth, jewelry and dots on cheeks Popular because of "Modernist" style Due to looting and forgeries, most statues lack provenance Lack of written documents prevents historians from knowing the meaning and purpose of the statues |
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Cycladic Art
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Figurine of a woman, Syros, Greece
2600-3000 BCE, Marble, 1' 6" Large simple triangles Feet are pointed down, lying down like the deceased Breasts and pubic area are emphasized |
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Cycladic Art
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Male harp player, Keros, Greece
2600-2300 BCE, Marble, 9" Seated on a chair Simple geometric shapes Harp has a duck bill or swan head ornament Lack of written documents prevents historians from knowing the meaning and purpose of the statue |
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Floor Plan
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Palace of Knossos, Crete, Greece
1700-1370 BCE Legendary home of King Minos Myth- Theseus hunted for the Minotaur in the labyrinth Built against upper slopes of a low hill Central feature- giant court Clusters of rooms grouped around the court More than three floors Stair wells were well lit and ventilated Columns taper from top to bottom |
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Floor Plan
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Southern part of the Citadel, Tiryns, Greece
Ten miles from Mycenae Strong, defensive walls compared to Cyclopean Masonry Avg. 20 feet in thickness Encouraged attackers to enter palace through a long ramp that exposed soldiers' unshielded side to the Mycenean defenders above |
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Lion Gate, Mycenae, Greece
1300-1250 BCE, Limestone, 9' 6" 20 feet wide channel Monumental sculpture was rare in the Mycenean palaces Protected on the left by natural rock outcropping Post & Lintel and Corbeled Arch Guardian figures in front of entrances originate from Egypt |
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Wet Frescoes
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Rough fabric coated with lime plaster.
'True' fresco method - paint is applied when the wall is wet. The color chemically bonds with the plaster as it dries Paintings depict many aspects of Minoan Life and nature |
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True Fresco
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Bull-leaping, Knossos, Greece
1400-1370 BCE, Fresco, 2' 8" During the occupation of Knossos Palace Earliest use True Fresco technique. Minoan Ceremony of bull leaping - grab horns of bull and vault onto its back Dynamic representation of bull. Curving lines suggest the power of the charging bull Humans have typical Minoan pinched waists Fair and dark skin identify male and females Figure on the left holds the bull's horns 'bull dogging' |
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True Fresco
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Landscape with swallows (Spring Fresco), Thera, Greece
1650-1625 BCE, Fresco, 7' 6" Largest and most complete prehistoric example of true landscape Represents Minoan appreciation for nature Capture essence of landscape rather than accurate details, resemble waves, sand dunes Vibrant colors, swaying lilies, flying birds, |
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Minoan Pottery
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Kamares ware jar, Phaistos, Greece
1800-1700 BCE 1' 8" Polychromatic - white and brown decorate the black back ground Leaping fish out of net. Swirling at the bottom imitates the sea |
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Minoan Pottery
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Marine style octopus flask, Palaikastro, Greece
1450 BCE, 11" Dark figures on light ground Balance between vessel's decoration and shape Marine life was the most popular pottery subject |
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Scultpure
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Palaikastro Youth, Palaikastro, Greece
1500-1450 BCE, Chryselephentine, 1' 8" Probably represents a young god Made from ivory, gold, serpentine, and rock crystal Early example of chryselephentine (gold and ivory) sculpture, Expensive |
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Sculpture
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Snake Goddess, Knossos, Greece
1600 BCE, Faience, 1' 1" Example of Minoan sculpture Debated whether a goddess or priestess Sexuality and fertility expressed by the exposed breasts and snakes Feline on head not original: example of questionable restoration of Minoan artifacts Costume represents later Minoan Style |
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Harvesters Vase, Hagia Triada, Greece
1500-1450 BCE, Steatite Originally covered with gold leaf Best surviving example of Minoan relief sculpture Lively figures show gesture and youthful energy Shunned static repetition for Individually characterized figures Convention of composite profile/front views, foreground singing figure with sistrum Displays underlying skeletal structure Earliest show muscles of facial expression |
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Passage way
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a) Post and Lintel (Egypt)- weight is not distributed well
b) Corbeled Arch- support weight against each other c) Arch |
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Treasury of Atreus, Mycenae, Greece
1300-1250 BCE Relieving Triangle Burial tombs of Elite families Mistaken to be treasury of Atreus, father of Agamemnon Tholos- Circular building, beehive shaped Dome formed by corbel vaults No cement or interior supports Biggest dome until Romans built Pantheon |
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Painted Vase
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Warrior Vase (Krater), Mycenae, Greece
1200 BCE, 1' 4" frieze of soldiers marching off to war Woman bids farewell to the soldiers (left) No setting and landscape Soldiers are all similar to each other |
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Geometric Krater, Athens, Greece,
740 BCE, 3' 4'' Large Funerary vases were used as grave markers Meander- abstract motif, Geometric period Scenes depict the mourning of a man during a burial procession Concern for identifying gender, not anatomical accuracy (penis coming out of thigh) Return of storytelling in pictures |
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Hero and Centaur, Olympia, Greece
750-730 BCE, Bronze, 4" Are they fighting? We will never know Genitals are indicated Centaurs have human forelegs and horse like back portion (artist had trouble representing the creature) |
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Mantiklos Apollo, Thebes, Greece
700- 680 BCE, Bronze, 8'' Pinched waist and triangular torso Message on thighs reveals it is a votive or religious offering to Apollo from Mantiklos If the hand on the left was a bow it would be Apollo artist shows interest in human anatomy (pecs & abs) |
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Lady of Auxerre
650-625 BCE, Limestone, 2' 1'' Found in France, probably made in Crete Daedalic, Deadulus- skillful one Egyptian, Minoan influence- patterned skirt and hair, incised patterns, pinched waist Mortal or deity? does not wear headdress as goddesses did Step into the naturalistic style Her fingers are so long- arm in motion |
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Kouros, Attica, Greece
600 BCE, Marble, 6' Early example of life size statue Funerary statue Egyptian stance, no contrapposto Differ from Egyptian statues. Free standing Interested in expressing motion, not permanence. Nude. |
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Calf-bearer, Athens, Greece
560 BCE, Marble, restored height 5'5" Rhonbos bringing an offering to Athena Painted cloak, nude Pattern- arms and calf's leg form X Archaic smile Calf is sculpted all the way around, you have to walk around the sculpture |
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Kroisos, Anavysos, Greece
530 BCE, Marble, 6' 4" 'Stand and mourn' youth died a hero's death Displays increased naturalism |
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Peplos Kore, Athens, Greece
530 BCE, Marble, 4' Peplos- simple, long, woolen, belted garment Missing hand would have identified which goddess she was Archaic smile |
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Kore in Ionian Dress, Athens, Greece
520-510 BCE, Marble, 1' 9'' Assymetrical folds in the dress Archaic smile |
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Doric and Ionic Orders
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Doric- Very Simple, Earliest and most common
Ionic- Characterized by scroll, More ornate Corinthian Columns, Differentiated from the Ionic by its intricate column capital, REMEMBER: Frieze, Tioglyph, Metope, Stylobate, Pediment, Shaft |
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Dying warrior WEST
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Dying Warrior from the west pediment of Temple of Aphaia, Aegina, Greece
490 BCE Rigid frontal torso Archaic smile indicates that the subject is still alive Balls are sagging, affected by gravity |
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Dying warrior EAST
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Dying Warrior from east pediment of Temple of Aphaia, Aegina, Greece
480 BCE (ten years after the west pediment was created) Pose is more natural than east dying warrior Torso is placed in an angle to the viewer Trying to rise, using his shield as support Does not look out at the viewer Moving into the Classical style |
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Kritios Boy, Athens, Greece
480 BCE, Marble 2'10" CONTRAPPOSTO (counterbalance) right hip dips to indicate the shifting of weight onto his left leg First statue to show how a person naturally stands Head is turned- breaking tradition of previous statues No arcaic smile |
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Riace Warrior, Riace, Italy
460-450 BCE, Bronze, 6' 6" Restored after thousands of years under water Lacks helmet, shield, and and spear Weight shift is more pronounced than Kritios Boy Created by Hollow Casting |
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Charioteer, Delphi, Greece
470 BCE, Bronze, 5' 11" Almost an archaic pose. But there is a slight tilt in the hips. The feet are splayed at different angles. The head is turned away from audience Used to include chariot and horses Scene depicts when the driver held the horses in the winner's circle after the chariot race |
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Zeus, Greece
460-450 BCE, Bronze, 6' 10" Early classical bronze statue Found in a shipwreck Heel is raised off the ground action statue, in motion |
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Roman copies
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Bronze was melted and recast into weapons
This is why so few ancient Greek bronze originals survive demand for Greek art rose. Greek culture symbolized a desirable way of life—of leisure, the arts, luxury and learning Roman copies were considered works of art in their own right, Some artists changed the copies to meet their own style or the original figure were transferred into another scene Roman copies give us a peek into Greek history |
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Myron, Discobolos,
450 BCE, Marble, 5' 1" Created by Myron Original is lost Action statue, in motion Face is turned away from audience |
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Doryphoros, Spear Bearer, Canon; Pompeii
450-440 BCE, bronze statue, 6'11" Created by Polykleitos Canon- standard of perfection. perfect proportions Balance between tension and relaxation Contrapposto pose -the sculpture realistically Demonstrates how every part of the body is affected by this pose. |
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Athena Parthenos, Athens, Greece
438 BCE, 38' Created by Phidias Historians know about the lost statue from Greek authors and roman copies Each detail and story was a metaphor for order over chaos, victory over Persians Chryselephantine |
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Caryatids-female
Telamon-male Ionic Columns architectual supports |
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Nike adjusting her sandal, Acropolisa, Athens, Greece
410 BCE, 3' 6" 'wet t shirt' awkward position is made to look graceful |
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Aphrodite of Knidos,
350-340 BCE, Marble, 6'8" First time Aphrodites was represented in nude Praxiteles was famous for transforming stone into soft flesh Sensuous but not erotic |
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Dying Gaul, Pergamon, Turkey
230-220 BCE, Marble, 3'2" Roman copy of bronze statue Epigonos might be the sculptor Pain and suffering is dramatic |
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Nike alighting on a warship, Greece
190 BCE, Marble, 8' 1" Hellenistic statues were made more dramatic by the setting Statues interacted with environment, not just some thing on a bare pedestal anymore |
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Sleeping Satyr, Rome, Itally
230-220 BCE, Marble, 7' 1" Hellenistic statues portray sleep Sculpted by Bernini Sensual, exudes sexuality |
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Venus de Milo, Melos, Greece
150-125 BCE, Marble, 6' 7" Following Praxiteles lead, artists explored the eroticism of the nude female, depicting the goddess as an object of sexual desire. |
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Defeated Boxer, Rome, Italy
100-50 BCE, Bronze, 4' 2" Sculptor evokes emotion through the battered ears, broken nose, and upward gaze |
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Old Market Woman
150-100 BCE, Marble, 4' 2" Sculptor showed an interest in social realism Body bent with age, wrinkled face |
