Geometric and Orientalizing Art - 900 - 600 B.C.E, end of the bronze age, dark age, Greek society is set up in Polis, Polis argues with each other for resources and land and power, slavery seen as natural, no women artists, really basic styles of work
Geometric Krater - from the Diplyon Cemetary, Athens, ca. 740 B.C.E., ceramic, mix wine and water, some have or do not have bottoms, bottomless are funerary, this particular one is bottomless, grave markers, funerary motif, the base has registers of geometric pattern, the meandering line at the top is greek key, the central image depicts the dead, people that are in attendance at the death or mourning, dead human lying on their side, checkered cloth above represents the shroud, the shroud is the fabric that you put on top of the dead body that preserves the body, schematized figures, non-naturalistic, abstract depictions of humans, register underneath is chariot procession for the dead, the horse has one body, but multiple heads and legs, the schematized body of warrior made to look like a shield, reintroduction of human figures into Greek art
Mantiklos Apollo - ca. 700 - 680 B.C.E., bronze, votive statue, meant as an offering and incentive, schematics view, elongated neck, stylized hair, not naturalistic
Archaic Art - end of the geometric period, the beginning is when greek art becomes increasingly naturalistic, forms look more life-like, development of naturalistic sculptures
Kourous - ca. 600 B.C.E., marble, Kourous means youth, idealized male youthful form, emulates poses in Egyptian art, frontal, left foot advance, fists are clenched, arms held close, arms are no longer attached, disengaged(unattached) body parts, funerary marker, releasing it form stone blocks, removing rock around the sculpture, somewhat schematized
Calf Bearer (Mosschophoros) - from the Acropolis, Athens, Greece, ca. 560 B.C.E., marble, made as an offering to Athen, noble perfection, adult-male perfection, wearing a cloth, draped open on the body, originally painted, archaic smile-brings sculpture life, eyes are inlayed or painted, interest in male anatomy, bubbly hair, stylized body, empty eyes
Kroisos - form Ananvysos, Greece, ca. 530 B.C.E., marble, base is inscribed, dedicated to warrior, generic male body, naturalistic, head right zide, rounded cheek, hair is stylized
Peplos Kore - Acropolis, Athens, Greece, ca. 530 B.C.E., marble, dress is a peplos, 4 different styles, this one is where only goddesses wear, soft treatment of body, thought to be a votive to Athena
Andokides Painter - Achilles & Ajax, playing a dice game, from Orvietto, Italy, ca. 525 - 520 B.C.E., artists worked with their hands, bilingual vase, allows to see two styles of greek painting, black-figure painting - black figures on a red background, red images on black background - red figure, krater
Types of Column:
Doric Order - Masculine, Shaft and Capital, Raking Cornice is the angled roof, Frieze split into two parts, Architrave is a blank space that separates the columns from the frieze, triglyphs are squares with three different scoops, metope is a sculptural relief,
Ionic Order - Feminine, Base, Fluted Column, Volutes are scrolls that replace capital for Doric’s, Architrave is much more complicated, frieze is a continuous narrative
Corinthian Order- Most complex, capitals depict canthus leaves
Parts of Temple
Stylobate are stairs that separate secular space from non-secular space
Columns support roof and allow for the porch
Abacus is top of the column
Pediment
Column up is Entablature
Temple of Aphaia - Aegina, Greece, ca. 500 - 490 B.C.E., peritrital is a single row of columns, dipteral is a double row of columns; extremely elaborate, Amphprostyle is when you only have columns in the front, Peristyle is when you have columns all around, This temple is Peristyle and Peritrital, made of marble, glittering white buildings, front porch, a pronaos is other porch, naos or cella is the holiest room, opisthodomos mirrors and is decorative, altar was outside typically facing east towards the rising sun, the scale of 1-3, as wide was 1, 3 times as long, changes to 1-2 based on columns, Doric order temple, metopes and triglyphs in frieze
West pediment of the Temple of Aphaia - Aegina, Greece, ca. 500 - 400 B.C.E., marble, known for the bottom corner of the pediment, high-relief, full sculptures and is barely attached, 3-dimensional sculpture, the battle between greeks and trojans is the story being told, Aphasia is superhuman and is depicted larger, greek gods are immortal but have attributes of humans
Dying Warrior - from the western facade of the Temple of Aphaia, Aegina, Greece, ca. 500 - 490 B.C.E., marble, doesn’t look like he’s dying, propping himself on arm, archaic smiling in spite of arrow, bottom left corner is an evolution of art, transition between archaic and classical, attempting to pull himself up, pressing shield into the ground in order to lift the body, hand clench on weapon, mean to fit in the shape of triangular pediment, more complex
Early Classical Art - 480 - 450 B.C.E., high refined style of the Greeks
Kritios Boy - from the Acropolis, Athens, Greece, ca. 480 B.C.E., marble, Contrapposto is a weight shift, seen in hips and legs, first to be concerned with how a human really stands, Contrapposto separates classical greek from archaic structures
Warrior - from the sea off Riace, Italy, ca. 460 - 450 B.C.E., bronze, Romans, and Greeks made bronze copies, found in a shipwreck, defined muscularity, bodyweight even shifted between two feet, more natural contrapposto, strong and older male, high butt, has silver teeth and silver eyelashes, copper lips and nipples, teeth are somewhat human color, inlay eyes, would have held something in left hand, attribute are objects associated with certain god or goddess, made using lost wax method
Myron - Diskobolus (Discus Thrower), ca. 450 B.C.E., Roman marble copy after a bronze original, Myron is one of the first greek artists, marble is daily easy to break with a chisel, hand detached, foot standing on toes, tree trunk added to support weight, wedge between fingers and leg for support, frozen in action, dynamic sculpture, winding up about to unleash discus
Ploykleitos - Doryphoros (Spear Bearer), ca. 450 - 440 B.C.E., Roman marble copy after a bronze original, Polykleitos a treatus called the Canon, which refers to the system of proportions in the human body, Polykleitos decided the official proportions and ration of head to body and all the other parts and what the ratios should be, decides the ratio of head to body should be 1 to 7, diagonal line on feet, kness, and hips, but shoulder is parallel to the ground, body cut in half on line 4
High Classical Art - 450 - 400 B.C.E.
Iktinos and Kallikrates - Parthenon, Temple of Athena Parthenos, Acropolis, Athens, Greece, 447 - 438 B.C.E., Doric Temple, the alternation between triglyphs and metopes, in ruins due to the Ottomans, used as munitions warehouse, both created design for building, ratio of 1:2, eye curves edges down, so tilt was used, columns lean calling swelling - entasis, compensates for political illusions, peristyle periteral style
Phidas - Athena Parthenos (model), Acropolis, Athens, Greece, ca. 438 B.C.E., gilded ivory, Chrystal elephantine, ivory is hard to carve, ivory is pierced together, holding statue of nike, winged representation of victory, battle between centuars and humans is centoral maki, on shield amazona maki is battle between amazons
Helioa, horses and Dionysus (Heracles?), Plaque of the Ergustines, East Pediment of the Pathenon, Pathenon, Acropolis, east showns Athena, birth of a goddess, west is contest with Poseidon to who the cities deity would be, Athena wins, horses, treatment of ground line as a horizon line, Interior of the Plaque of Ergustines is part of the interior festival procession which is part of the ionic frieze, exterior of the Parthenon has a Doric frieze, the interior of the cella is a ionic frieze
Temple of Athena Nike - Acropolis, Athens, Greece, ca. 421 - 405 B.C.E., Athena victorious, designed by Kallikrates, Antprocile, columns only on the front and back, Ionic temple, long frieze, pediment sculptures, back porch, female columns that are sculpted in female form - caryatid, many porches on temple, asymmetrical, different ground lines in frizes
Victory Adjusting Her Sandle at the Temple of Athena Nike - Acropolis, Athehns, Greece - ca. 421 - 405 B.C.E., marble, balancing on the left leg, awkward position, still removing graceful, wet drapery technique is when there is deep carved fabric and the fabric is wet, more of a form of her body
Late Classical Art - 400 - 323 B.C.E.
Praxiteles - Aphrodite of Knidos - ca. 350 - 340 B.C.E., Roman marble copy after a bronze original, new and interesting, monumental because its the first depicted nude female goddess, cortizen is a well-educated woman who sleeps with women, female nude seen as outrageous, the act of bathing, men came to just view the sculpture, seems approachable and normal, more naturalistic, covering herself, holding cloth used to wash herself
Lysippos - Apoxyomenos (Scraper), ca. 330 B.C.E., Roman marble copy after a bronze original, Greek culture has something called an oil bath and would take a scraper to scrape skin, bringing blood to skin, Lysippos known for creating portraits of alexander the Great, Contemporary to the Persian Empire, has a new canon, the body is slender, and the head is ⅛ the size of the body, implied movement of scraping body in oil, tree trunk used for stability
Philoxenes of Eretria - Battle of Issus, From the House of the Faun, Pompei, Italy, ca. 310 B.C.E., tessera mosaic, tessera is a small piece of glass, made with small pieces of rock known as paella, the battle of alexander the great and Darius the third of the Persian who is fleeing the battle screen, different poses for every subject, details fo armor for alexander, soldier’s shield is so shiny that you can see the reflection of his face, sense of glory of alexander the great
Polykleitos the Younger - Theater, Epidauros, Greece, 350 B.C.E., built into a hill, the center is called the orchestra - dancing place, plays would only happen during festivals, seating cut into hill- theatron, sloping effect, the seating area is the caveat, many ways to get to the seating area, always built into hillside due to natural slope, everyone has a view of the orchestra, ould hold 12,000 people
Hellenistic Art - Death of Alexander Great to the Death of Cleopatra, 323-30 B.C.E.
Nike of Samothrace - from Samothrace, Greece, ca. 190 B.C.E., marble, Hellenistic art is interactive with space around it, prowl on a boat, wings are back catching wing, the fabric around the body is whipping and moving backward from wind, seems to be alive, interacts with the environment
Great Altar of Zeus and Athena at Pergamon - Present-day Turkey, ca. 175 B.C.E., ionic stoa, volutes on capitals, space for continuous frieze, frieze contain over 100 high relief figures, tells the story of Zeus vs. Giants
Seated Boxer - ca. 100 B.C.E., old subject depicted in a new way, emotional quality, looks defeated, broken nose, broken teeth, smash cauliflower ear, the same interest in anatomy but in a different level., interaction with the environment
Sleeping Satyr (Barberini Faun), ca. 230 - 200 B.C.E., marble, overall erotic qualities, deep intense emotional reaction, asleep, entrance into fantasy, lying on panther skin, the face looks like he is lost in an interesting dream, not pornography,
Athanadoros, Hagessandros, and Polydoros of Rhodes - Laocoon and his sons, 1st century C.E., marble, Laocoon(Trojan priest) advises Trojans from against letting in Trojan horse, Poseidon didn’t like that Laocoon found out about their trick since he was on the Greek’s side, sends in sea serpent that kills Laocoon, serpent bites on hip, intense and emotional quality, pains him, looking into the distance, reaching to pull the snake off his hips, sons are confused and lost, delicate treatment of marble, affected Michel Angelo
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