Greek Flashcards
Geometric, Geometric Krater, ca. 740 BCE (Dipylon cemetery, Athens, Greece)- Hirschfeld workshop?
3’ 4 1/2” high
- krater=* vessel for mixing water and wine to dilute wine for parties, is set over grave as grave marker, bottom open- drainage or as ritualistic libation for deceased?
- meander=* key pattern at top, like maze; angular, linear and abstract motifs in Geometric period, reductive geometry, repetitive motifs, every space filled, no overlapping or depth- contrasts with organic fluidity of Minoans- more like Mycenaeans
full-frontal or full profile- emphasize flat patterns
bottom- chariot procession in honor of deceased; chariots, nude men carrying shields and spears, women pull hair out, chariot w/ overlapping horses, processions- like Sumerian/Near East
mourners around funeral bier, shroud (abstract) raised to view corpse
male/female distinguished (breasts, penises) and shown nude- Greeks appreciate nudity!
no reference to underworld/dead, no supernatural beings, no connection to dead for Greeks, afterlife is shrouded in mystery (unlike Egyptians), emotions in survivors only- celebrates life
Archaic, Kouros, ca. 600 BCE
1st monumental stone statues, nude, young, athletic males- “type”- symbol of fertility, ancestors; grave marker
rigidly upright, stylized hair, archaic smile=alive
imports Egyptian cannon- shoulders level, fists at thighs, standing upright, L foot forward, R back
but less life-like- stylized, closed-lipped, abstract (Geometric period)- triangle pelvis, Greeks love patterns
only know if a god if symbol of god present
Archaic, Euphronios (painter) & Euxitheos (potter), Death of Sarpedon, ca. 515 BCE
red-figured Calyx crater- punch bowl used in symposia
Sarpedon killed in Trojan war by Patroclus- Patroclus killed by Hector- Achilles fights for Sarpedon’s body- kills Hector
Hypnos (sleep)-Hermes (messenger)-Thanatos- all labelled by inscriptions from mouth
balanced composition- diagonals balanced by lance bearers, X-shaped composition, bodies twist in space, left leg foreshortened, Greek interest in space/depth, caught in moment
High Classical, Polykleitos, Doryphoros (Spear Bearer), ca. 450-440 BCE
most famous HC sculpture, Roman copy after bronze
Polykleitan style-most desirable elements of human figure+idealism; understood only from front, model for athletes after life-sized sculpture of Achilles
contrapposto pose, chiastic=”X”-shaped- relaxed vs. engaged limbs
Illustrates “The Cannon”- treatise on ideal human figure-set of ratios, head is base measurement unit
symmetria- relationship of body parts to each other, equally divisible; implied balanced motion
contemplate ideal figure- physical perfection= balanced cosmos
High Classical, Iktinos & Kallikrates, Parthenon, 447-438 BCE
commissioned by Pericles, leader of Athens- Acropolis- highest part of city, on top of hill
Parthenon=temple to Athena, built on top of original ruins and enlarged, symbol of Athenian dominance & power, part of a series of structures
harmony and balance in exterior columns- 4:9 ratio, rational architecture; deviations from regularity= harmonious effect- architectural contrapposto
entasis= slight curvature of columns outward
interior- iconography- Athena dressed for battle, holds Nike (victory), sandals struggle of men against gods- amazonomachy, centauromachy- also in exterior metopes on entablature- 2 figures in combat= Athenian victories
no more early classical austerity- instead- athletic ballet- active but balanced
sculpture in round in pediments- 3 goddesses- drapery covers and reveals simultaneously- begin to see female form
ideal types in relief friezes
Late Classical, Lysippos, Weary Herakles (Farnese Herakles), ca. 320 BCE
Roman marble copy after bronze original- monumental- 10’4”, twice life size, made for Baths of Caracalla/owned by Farnese family in Renaissance
S-shaped posture, spatial interaction, must move around it to understand- same as Doryphorus- model for athletes
after 11th labor- golden apples of Hesperides=weary after hold up sky/slaying dragon
exaggerated musculature/underscore human tragedy- not calm, serene, noble, detached (e.g. High Classical)- humanizes gods
Hellenstic, Athena Battling Alkyoneos, 175 BCE
from Altar of Zeus (now Pergamon, Turkey)- open-air temple- celebrating Pergamene victory over Gauls (like Athens over Persians- iconography from Parthenon)
sculpted frieze 7’ high/400’ long- 100 over life-size
high relief-casts deep shadows- dramatic, theatrical
gigantomachy-Athena battles Alkyoneos, son of Ge, Ge pleads for his release
horizontal/vertical equilibrium abandoned- no sky/ground, figures float, chiasmic balance, in viewer’s space- like Archaic but more emotional
Hellenistic, Alexandros of Antioch-on-the-Meander, Aphrodite (Venus de Milo), ca. 150-125 BCE
Melos, Greece- figure based on Aphrodite of Knidos (Praxiteles); but heavier, more rounded forms, more pronounced S-shape
Intended to be seen in the round- U and L parts of body move in different directions, exaggerated contrapposto/drapery/twisting body- R- grasp slipping drapery, L- apple of Paris
narrative context- Judgment of Paris- viewer is Paris, being tempted
Hellenistic, Athanadoros, Hagesandros and Polydoros of Rhodes, Laocoon, early 1st century CE
unearthed in 1506, in Nero’s Domus Aurea- extremely influential work, esp. Renaissance
Trojan priest of Poseidon- punished for sons or for rejecting Trojan horse
figure references pose of Alkyoneos from Altar of Zeus
meant to be seen in round, figure twists, showing agony
pathos: experience tragic, painful death of hero
portrait-like head shows age, muscular, ideal body
emotional appeal- universally understood
