Chapter 5 - Ancient Greece Flashcards
Kouros
(New York Kouros)
600 BCE, Archaic
Marble
Mimics ancient Egyptian sculpture with frontal pose and rigid body
Unnatural style, angular and disproportionate
Kouros used as grave markers
Kroisos
Anavysos, Greece
530 BCE, Archaic
Marble
Mournful statue of a man that died at war
Archaic smile to show a happy life and good death
More naturalized form, but still disproportionate
Encaustic painting technique - with colored wax
Peplos Kore
Acropolis, Athens, Greece
530 BCE, Archaic
Marble
Kore - offerings to gods
Later thought to be deity Artemis - animals on skirt, may have held boy and arrow
Holes on head for crown
Peplos - traditional gown
Athenian Agora
Athens, Greece
600 -150 BCE
Used for government, markets, and gatherings
Temples for gods and goddesses
Stoa - long hallways with columns, covered
New Bouleutenon - where senators would meet
Panatheonaic way - path named for procession
Dying Warrior, West Pediment
Temple of Aphaia, Agena
500-490 BCE, Archaic
Marble
Chest pierced with bronze arrow - dying warrior
Archaic style - less detailed body, less naturalized pose, archaic smile
Dying Warrior, East Pediment
Temple of Aphaia, Agena
480 BCE, First Classical
Marble
First classical statue
Naturalistic form, diminished archaic smile
Kritios Boy
KRITIOS
Acropolis, Athens
480 BCE, Classical
Marble
Severe style - shift from archaic to classical
Relaxed pose, right foot forward
Contrappasto - counterbalance (shifted waist)
Riace Warrior
Sea of Riace, Italy
460-450 BCE, Classical
Bronze, copper and silver inlay
Spent 2k years in saltwater
Hollowcasting (cireperdue) - clay model with beeswax to shape molten bronze into hollow form
Further naturalized rendition
Most classical statues were originally bronze
Doryphoros (spear bearer)
POLYKLEITOS
Roman marble copy
Pompeii, Italy
450-440 BCE, Classical
Canon standard of perfection
looks to be in movement - contrappasto
Perfect head to body ratio (1-7)
Originally held spear in left hand
Chiastic (cross balance) - asymmetrical balance
Parthenon (Temple of Athena Parthenos)
IKTINOS and KALLIKRATES
Acropolis, Athens, Greece
447-438 BCE
Focus on algebra and geometry
x = 2y + 1 - 17 colums on sides, 8 in front
Ionic and Doric
Helios and his horses, and Dionysus (Herakles?)
East Pediment, Parthenon
438-432 BCE, Classical
Marble
Depiction of Athena’s birth
Helios rises from the east with energetic horses
Part of Phidian program
3 Goddesses (Hestia, Dione, Aphrodite)
East Pediment, Parthenon
438-432 BCE, Classical
Marble
Clothing in great detail
Wet drapery - clothing clings to the figure
Mastery of both male and female form
Helios sinks to the left
Panathenaic Festival Procession Frieze
Parthenon
447-436 BCE, Classical
Marble
Horsemen of North Frieze - bas relief (low relief)
Seated gods and goddesses (Poseidon, Apollo, Artemis)
Elders and Maidens - maidens would sew peplos to drape on statue of Athena
Erechtheion
Acropolis, Athens
421-405 BCE
6 Ionic Columns, 6 caryatids (women statues in place of columns)
Built to replace an earlier temple for Athena
For battle between Poseidon and Athena
Built on uneven ground - would not excavate sacred land
Temple of Athena Nike
KALLIKRATES
Acropolis, Athens
427-424 BCE
4 Ionic columns on East and West side
Reference to victory against Persians - Frieze on parapet for victory
Amphiprostyle
Nike Adjusting Her Sandal
South Parapet in Temple of Athena Nike
410 BCE, Classical
Marble, relief
Taking off sandal to enter sacred ground
Chain folds in cloth draw attention to shadow
Extreme contrappasto
Grace stele of Hegeso
Dipylon cemetery, Athens
400 BCE, Classical
Marble
Stele of a woman from an affluent family
Opening jewelry box from servant
Slight hierarchy of scale
Inscription - “Hegeso, daughter of…”
Artemis and Apollo slaying the children of Niobe
NIOBID PAINTER
Orvieto, Italy
450 BCE, Classical
Athenian red figure calyx Krater
Artemis and Apollo in perfect profile, children in 3/4
Statue of Herakles, warriors praying
Vessel to mix wine and water
Aphrodite of Knidos
PRAXITELES
Roman marble copy
350-340 BCE, Late Classical
First Greek statue of woman in the nude
Humanizing qualities of late classical style
Bold step to render goddess nude - modest hand and averted gaze
Next to hydrea for bath
Apoxyomenos (scraper)
LYSIPPOS
Roman marble copy
330 BCE, Late Classical
1 to 8 canon of head to body
Athlete’s arm breaks out of shallow rectangular box - encourages viewing from all angles
Scraping oil off the body
Weary Herakles (Farnese Herakles)
LYSIPPOS
Roman marble copy
Signed by GLYKON OF ATHENS
320 BCE, Late Classical
Realist depiction of a weary demigod
Carrying three apples and lion’s cloak without satisfaction
Exaggerated musculature
Battle of Issus
PHILOXENOS OF ERETRIA
House of Faun, Pompeii
310 BCE, Late Classical
Roman Tessera mosaic copy of painted original
Use of detailed shading with mosaic tiles
Alexander the Great battles Darriush(?)
Reconstructed West Front of the Altar of Zeus
Pergamon, Turkey
175 BCE, Hellenistic
Depicts Gigantomachy
Most sculptures larger than life
Zeus, Athena, Herakles
Hellenistic - exaggerated dynamics, dramatic
Ionic columns
Athena battling Alkyoneos, detail of gigantomachy frieze
Pergamon, Turkey
175 BCE, Hellenistic
Marble
Athena battles Alkyoneos and Gaea, Nike in back
Segments carved in both high and low relief
Athena holds titan above the ground, Gaea holds dramatic expression
Nike of Samothrace (Nike alighting on a warship, Winged Victory)
Samothrace, Greece
190 BCE, Hellenistic
Marble
15ft tall with ship base
Missing arms, head, and one wing no longer original
Found in situ
Exaggerated wet drapery
Tension between upward and downward motion
Aphrodite (Venus of Milo)
ALEXANDER OF ANTIOCH-ON-THE-MEANDER
Melos, Greece
150-125 BCE, Hellenistic
Marble
More scandalous - falling fabric, gaze not demure
Detached hand held apple from Paris
Exaggerated S-curve
Sleeping Satyr (Barberini Faun)
Rome, Italy
230-200 BCE, Hellenistic
Marble
Satyrs kept Dionysus company
Drunkenly sleeping on a rock on a panther skin
Puts more focus on genitals
Apollonius, Seated Boxer
Rome, Italy
100-150 BCE, Hellenistic
Bronze, with copper inlay
Athletic, but not young or beautiful
Defeated - broken nose, gashes, swollen ear, collapsing posture
Sitting a sign of humility and informality
Laocoon and His Sons
ATHANADOROS, HAGESANDROS, POLYDOROS OF RHODES
Rome, Italy
Early 1st cent BCE
Marble
Laocoon fights for his and his son’s life
Raw emotion and wear in faces - wrinkles on Laocoon
First only father, sons added later
