Midterm Flashcards
1
Q
A
- *Name**: Copy of the Diskobolos (Discus Thrower)
- *Period**: Early Classical
- *Date**: c. 450 BC
- *Artist**: Myron
2
Q
A
- *Name**: Copy of the Doryphoros (Spear Bearer)
- *Period**: Early Classical
- *Date**: c. 450-440 BC
- *Artist**: Polykleitos
3
Q
A
Title: Funerary amphora:
Dipylon Vase with funerary scene
Date: circa 750 BCE
Artist: Dipylon Master (active circa 760-735 BCE)
Culture: Geometric
City/Site: Athens
Country: Greece
• Detail: funeral procession with mourners and
deceased on funeral pyre
• main register - funeral procession
• deceased woman is on funeral pyre
• figures in mourning tear out their hair
• geometric period - has humans presented
geometrically (Minoan prescedent)
• women depicted slightly fuller with lines for breasts
and ponytail line
• retintroduction of figures
• multiplication of figures
• lavish program of pattern had a great power
• design had content = wealth, power, position of the
deceased’s family
• could have it made & display it = $
• gives proof that they deserve their standing
4
Q
A
- *Title**: Eleusis amphora depicting the Blinding of Polyphemus
- *Date:** mid 7th C. BCE
- *Artist/Culture:** Orientalizing
- *City/Site:** Eleusis
- *Country**: Greece
- Found at the great sanctuary of Eleusis dedicated to Demeter
- Moving away from geometric - still found, but it’s in secondary areas
- relative to what came before it, was an improvement from previous
- dipylon - narrative competes w/the ornament
- eleusis - ornament is secondary & to the sides
3 registers: shoulder = decoration, neck & body = narrative (broad registers)
Neck: Odysseus blinding the cyclops Polyphemus
- cyclops is holding a cup of strong wine to make him drunk
- red hot stake to the eye (to escape the cave)
- “simultaneous narration” = wouldn’t be drinking wine while being blinded, but it is an icon for the events that lead to the main story of blinding
- odysseus was emphasized w/white paint
- figures were predominantly silhouettes
Body: story of Gorgons & Perseus
- perseus is largely broken off
- 2 gorgon sisters mourning over their sister = Medusa
- beheaded by perseus using reflection in shield
- gorgons - large heads w/snakes & geometric mouth
Artist focused on movement of the body
- curvilinear swelling of odysseus’ body (vs anatomical depiction)
- individualized ppl
- gorgons’ legs protrude from their skirt to show running
Contains the bones of a small child
- what does this narrative mean in this context?
- speculation of being aprotropaic = scaring away demons/monsters
5
Q
A
- *Title**: Amphora depicting Achilles and Ajax gaming
- *Date**: circa 540 BCE
- *Artist**: Exekias (active 540-520 BCE)
- *Culture**: Archaic
- *City/Site:** N/A
- *Country:** Greece
- archaic = beginning
- amphora = funerary objects
- exekias = signs his work to show that vase painting was a noble art & worthy to be proud of
- Rationality = reason being highest quality = what sets humans apart from “lesser creatures”
- greater emphasis on human figures
- achilles & ajax thinking, logic games
- “black figure style” = black slip (mixture of pigment & clay) painted on natural clay w/incised detail
- geometric design is narrowed to the cloaks
- pinched waists reminiscent of the earlier geometric figures
- characters of the greek = very specific narrative
- achilles & ajax arguing (“4” & “3” inscribed on vase)
- trojans are outside going to attack
- instead of showing the peak of battle, shows the “greater moment of psychological intensity”
6
Q
A
- *Title**: Calyx Krater depicting Sarpedon carried off the battlefield. Detail: Hermes watches as Sarpedon is carried by Sleep and Death
- *Date**: circa 515 BCE
- *Artist**: Euphronios (active 520-470 BCE)
- *Culture**: Archaic
- *City/Site**: Athens
- *Country**: Greece
- mixing bowl for wine & water
- sarpedon is a son of Zeus
- reversing black & red = naturalistic looking = flesh color
- can use a brush for detail instead of engraving
- “red figure style”
- great detail in figure, musculature, & drapery
- represents the introduction of anatomy to enhance narrative
7
Q
A
- *Title**: Sounion Kouros
- *Date**: circa 600 BCE
- *Artist/Culture**: Archaic
- *City/Site:** Sounion
- *Country:** Greece
- gets its name from its location
- found at the Sanctuary of Poseidon
- “colossus” statue at 10ft = difficult to carve proportions
- pose is much like Egyptian sculpture
- one foot forward w/hands at the side
- most stable pose for free standing sculpture
- greeks removed supporting structures, spaces between legs, & between arms and torso
- greeks had iron tools & the drill
- the artist’s expression
- “modeled” = true three dimensionality
- sounion is more planar & imprecise anatomically
- musculature of abs (4 instead of 3)
- incision of ribcage & abdomen
- back is incised
- the desire of naturalism is there based on the amt of detail in the figure
- esp. the knee, though still incorrectly portrayed
- face, hair, ears
- “schematization” = taking from nature, but removed
- eyes uncommonly large = come from middle eastern influence (being closer to god)
- face is common - can be reflective of the ideal form vs giving specific details of an individual
- hair - middle eastern influence & wiglike
- ears - curved like volutes on columns - nothing like enature
- could be reference to the stone sculptor’s background of a carver
- sculpture is believed to be as the artist imagined
- if they had wanted to, they could compare it to another human
- the absence of naturalism shows the figure above the every day
- rigidity, frontality, schemetization = empasizes superhuman
- CULT OF HEROES
8
Q
A
- *Name**: Parthenon, plan.
- *Period**: Classical
- *Date**: 447-438 BC
- *Artists**: Ictinus and Kallicrates
- *Original Location:** Athens
9
Q
A
- *Name**: Parthenon. Restoration drawing
- *Period**: Classical
- *Date**: 447-438 BC
- *Artists**: Ictinus and Kallicrates
- *Original Location:** Athens
10
Q
A
- *Name**: Parthenon. View from northwest
- *Period**: Classical
- *Date**: 447-438 BC
- *Artists**: Ictinus and Kallicrates
- *Original Location**: Athens, Acropolis
11
Q
A
- *Name**: Parthenon. Reconstruction drawing of east pediment.
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
12
Q
A
- *Name**: Parthenon. Reconstruction drawing of east pediment. Detail: left part
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location:** Athens
13
Q
A
- *Name**: Parthenon. E. pediment,Theseus (Dionysos)
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
14
Q
A
- *Name**: Parthenon. Reconstruction drawing of east pediment. Det:right part
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
15
Q
A
- *Name**: Parthenon. E. pediment. Det: Dione & Aphrodite
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
16
Q
A
- *Name**: Parthenon. Reconstruction drawing of West pediment
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
17
Q
A
- *Name**: Parthenon. Reconstruction drawing of W. pediment. Left side
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
18
Q
A
- *Name**: Parthenon. Reconstruction drawing of W. pediment. Right side.
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
19
Q
A
- *Name**: Parthenon. W. pediment. Iris.
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original** Location: Athens
20
Q
A
- *Name**: Parthenon. South Metope: Lapith triumphing over a Centaur
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
21
Q
A
- *Name**: Parthenon. North frieze: Mounted procession
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
22
Q
A
- *Name**: Parthenon. East frieze: Maidens & Leaders
- *Period**: Classical
- *Date**: 438-432 BC
- *Artist**: Supervised by Phidias
- *Original Location**: Athens
23
Q
A
- *Title**: Anavysos Kouros (Kroisos)
- *Date**: circa 525 BCE
- *Artist/Culture**: Archaic
- *City/Site**: Anavysos
- *Country**: Greece
- Anavysos = between sounion & athens
- not the tools that made the greeks move away from rigidity
- wanted more naturalistic appearance
- not quickly, generationally
- unlike calf bearer who is a “normal man”, Anavysos is a hero sculpture
- funerary monument for Kroisos = a hero
- paint still existed in eyes & hair - red coloring in hair
- a lot of blondes & redheads in greece
modeled anatomy is very realistic:
- abdomen- triple subdivision (vs quadruple in sounion)
- junction of legs & torso- instead of ridge, there’s natural fold
- hair is still patterned - more stylized, schematized
- knees & shins are schemetized but asymmetrical musculature of knees is at least present
- ribcage is too round (and too high?)
- standard type = frontal pose, hands to the sides, one foot forward
generally/overall downplay of the rigidity/schemetization/etc
- growing importance in the belief of the human being
- human is the determiner of themselves (vs the gods’ fate)
- creation of new superhuman heroes was on the downslope
- human heroes are more important & divine
24
Q
A
- *Title:** Auxerre Kore
- *Date**: circa 650 BCE
- *Artist/Culture**: Archaic
- *City/Site:** Crete
- *Country:** Greece
- influence of Egyptian on Greek statue is also apparent in female ones
- carved as a votive
- rigid, frontal, symmetrical
- hair is highly schematized
- breasts show through thin clothing = egyptian/foreign
- lower part- greek modesty= solid block, not showing any hint of legs
- aristocratic woman
- less strident feetian on Greek statue is also apparent in female ones
carved as a votive
rigid, frontal, symmetrical
hair is highly schemetized
breasts show through thin clothing = egyptian/foreign
lower part- greek modesty= solid block, not showing any hint of legs
aristocratic woman
less strident feet - more statuesque votive
gesture w/hand = meaning is no longer known
possible salutation to the god
face is similar to the kouros, very rigid & unoriginal
was originally painted, decorated w/jewelry & clothing - more statuesque votive - gesture w/hand = meaning is no longer known
- possible salutation to the god
- face is similar to the kouros, very rigid & unoriginal
- was originally painted, decorated w/jewelry & clothing
25
Q
A
- *Title**: Kore from Samos (‘Hera’), sometimes called the Cheramyes Kore
- *Date**: circa 565 BCE
- *Artist/Culture**: Archaic
- *City/Site:** Samos
- *Country**: Greece
- more greek influence = “hellenization”
- called “Hera” but it’s not of Hera - was votive offering to honor her
- wearing clothing of Ionia
- skirt & cloak have different decor to reduce rigidity
- skirt (chiton) - thin vertical lines = texture & separation of clothing
- cloak (himation) - thick diagonal lines
- one arm to the side, other arm originally in front (like Auxerre)
- body isn’t indicated under skirt & upper body is modestly covered
26
Q
A
- *Title**: Peplos Kore (Kore 679) from the Athenian Acropolis
- *Date**: circa 530 BC
- *Artist/Culture**: Archaic
- *City/Site:** Athens
- *Country**: Greece
- Modern reconstruction with painted plaster cast
- votive statue - probably in front of the temple
- probably buried religiously after the destruction of the acropolis by the persians
- possibly wrapped in a lead sheet, as if in a burial shroud
- traditional Dorian clothing = woolen peplos (name derivative)
- pose is one of dignity
- simple garments - adds severity to the look
- form is hidden under drapery
- simple rectangular block of stone carved into figure
- arm was carved separately & added to sculpture later (“plugged in”)
- big thing - moving away from rigid arms agains their sides
- minor sensation
- original red paint/red hair = a little less schemetized, less wiglike
- face - some attempt at expression, archaic smile
- still larger eyes
- originally had metal jewelry & was “luxurious” b/c of the detail painting & where the paint is from
- color was from shellfish = veyr expensive
- depiction of embroidery is symbol of luxury
- aristocratic women, family probably paid for positions for daughters like priestesses, etc.
- statue would be raised & a sign of status for the family
27
Q
A
- *Title**: Athenian Acropolis Kore 674
- *Date**: circa 525 BCE
- *Artist/Culture**: Archaic
- *City/Site**: Athens
- *Country**: Greece
- also mutilated & ritualistically buried like peplos kore
- Ionian style
- luxurious tunic & robe, slightly more technically created than the peplos (decor in drapery)
- still modest, shows a little of the body form underneath
- falls more naturalistically than the “wet drapery” technique of later
- wet drapery = classical drapery style for super folds detail in decor but actually less natural = looks like individual wore clothes & jumped into shower
- conspicuous consumption - folds & crinkled design on arms
- some paint in the eyes, hair, & clothing
- culture LOVED luxury & super colorful colors/clothing
- archaic smile has started to fade
- schemetized/symmetrical hair is still apparent
- eyes are less exaggerated, more sensuous - “feline” eyes
28
Q
A
- *Title**: Temple of Hera I
- *Date**: mid-6th C BCE
- *Artist/Culture**: Archaic
- *City/Site**: Paestum
- *Country**: Italy
- greek temple = center of the cult
- sacrifice/divination of animal = in front of temple
- cella was the house of the cult statue
- very few major rituals were inside
- “real” focus was outside the temple
- Influence of Egypt (indirect or direct) on Greece
- 664 BC = Egypt was open to trade & travel
- most temples in this era were partial stone
- all stone temples were of the mid-archaic period
- odd amount of columns blocking the direct path to cella, 9 X 18 = typical of this period
- not focused on the visual being blocked
- single row of columns down the center of the cella shows lack of confidence in their architecture
- belief that the roof needs that structure
- later the columns will move to the side
- entasis of columns
29
Q
A
- *Title**: Siphnian Treasury. North frieze, Detail: battle of Gods and Giants
- *Date:** circa 530 BCE
- *Artist/Culture**: Archaic
- *City/Site:** Delphi
- *Country:** Greece
was in the Temple of Apollo
frieze wraps around entire building, different stories on each side
North side: gods & giants (titans) battle
- bordered the sacred way = most prominent
- depicted space & movement - figures are on the same ground line
- deep undercutting to add depth & layering
- adapted to be less regular - less “paperdoll” cutouts
- irregularity = more natural
- sense of movement - legs running, drapery flying back
- real expressions - one god is screaming in terror as he’s being mauled by a lion
30
Q
A
- *Title**: Siphnian Treasury. east frieze, Detail: Gods on Olympus
- *Date**: circa 530 BCE
- *Artist/Culture:** Archaic
- *City/Site:** Delphi
- *Country:** Greece
East frieze: gods on olympus
Thetis - sea nymph & demigoddess is complaining about the treatment of her son, Achilles
variety = different drapery patterns, hairstyles, gestures, etc
people are talking, arguing, etc. = based on head, body, & hand movement
narrative potential - creates competition
31
Q
A
- *Title**: Siphnian Treasury. west facade
- *Date**: circa 530 BCE
- *Artist/Culture:** Archaic
- *City/Site**: Delphi
- *Country**: Greece
fight between Apollo & Herakles for the tripod at Delphi
zeus tries to intervene & herakles is punished to be a slave & do “women’s work”
extraneous figuress in the pediment to fill the extra space
most pediment sculptures are hierarchic scale (important = tallest), not so here
height just to fill space evenly
Caryatids = females holding up the front in place of columns (knowns as Atlases when male)
32
Q
A
- *Name**: Temple of Athena Aphaia. West (old) pediment diagram
- *Period**: Early Classical
- *Date**: c. 500 BC Original
- *Location**: Aegina
- destroyed by persians
- depicting Trojan war
Phrygian warrior/oriental archer, possibly Paris
- wore pants & phrygian cap
- more relaxed, less muscles
Dying warrior
- no shield
- archaic smile = odd since he’s pulling an arrow out of himself
- superhuman, perfection in death
33
Q
A
- *Name**: Temple of Athena Aphaia. West (old) pediment, right side. Dying warrior
- *Period**: Early Classical
- *Date**: c. 500 BC
- *Original Location**: Aegina
Still has archaic smile (odd b/c you wouldn’t be smiling, removing an arrow)= psychological presence
superhuman = perfection in death
34
Q
A
- *Name**: Temple of Athena Aphaia. E. pediment diagram
- *Period**: Early Classical
- *Date**: c. 490 BC
- *Original Location**: Aegina
has greek warrior that replaces the phrygian warrior of west pediment
has dying warrior with shield & no smile
35
Q
A
- *Name**: Temple of Athena Aphaia. E. pediment, left side. Dying warrior
- *Period**: Early Classical
- *Date**: c. 490 BC
- *Original Location:** Aegina
new warror has shield, still pulling arrow from himself
not smiling
pathos of dying
figure remains heroic = noble in facing his death
36
Q
A
- *Title**: Temple of Athena Aphaia, east facade
- *Date**: circa 490 BCE
- *Artist/Culture:** Early Classical
- *City/Site**: Aegina
- *Country:** Greece
- Goddess Aphaia = local goddess combined w/Athena
- temple of classical design
- slimmer proportions, less entasis
- figures are carved entirely 3D
- entire composition is relevant
- depicting Trojan war
- Persians destroyed the west sculpture
West (old) pediment = 2nd Trojan war (by Homer)
c. 500 BC rear
East (new) pediment = 1st Trojan war (not by Homer)
c. 490 BC front
37
Q
A
- *Title**: Kritios Boy, full front view & 3/4 back view
- *Date**: circa 480 BCE
- *Artist/Culture:** Early Classical
- *City/Site**: Athens
- *Country**: Greece
- emphasis on individual - end of the Kouros type
- focus on men, not supermen
- continues the form of the kouros
- “Kritios” b/c it resembled the sculptor Kritios or one of his other sculptures
- destroyed by the Persians
- rigidity b/c of not anatomically correct musculature of someone at rest
- contrapposto stance - resting w/weight on one leg
- one knee is higher, one shoulder drops
- less complicated to show at rest than movement
- new technical ability to create a new psychological presence
- turns head to the side - less rigid
- muscles have a smoother transition between parts
- better ribcage
- more suble knees
- hair is treated like a cap vs patterned wig (hairstyle then)
- naturalistic, but not realistic - doesn’t embody oone specific person/patron
- still the ideal - like an ideal youth
- reality is the platonic form (perfect/ideal) vs the actual
- rejection of otherworldly - not platonic
- natural proportions
- smooth transition between body parts
- psychological presence
38
Q
A
- *Title**: Charioteer of Delphi, from Sanctuary of Apollo
- *Date**: circa 470 BCE
- *Artist/Culture**: Early Classical
- *City/Site**: Delphi
- *Country**: Greece
- severity of style helps psychological presence
- survives b/c it was buried in a mudslide in 373 BC
- large parts are destroyed - enough remains to figure out the narrative
- offered as a votive to Apollo by Polyzalus after chariot race victory (as thanks)
- statue is of Polyzalus on a chariot, pulled by 4 horses, & a groomsmen
- drapery is tied back (to prevent ballooning while driving)
- regularity is emphasized for severity
- removes him from just an “every day” man
- sense of dignity
- originally made of bronze w/copper lips & eyelashes
- would give a reddish sheen = more natural
- eyelashes & glass paste eyes = natural
- some curls were cast separately (vs carved lines) to add more naturalism
- no patina when it was used
- Polyzalus wears victory ribbon on his head, so the sculpture is of his victory drive
- religious aspects = gods favor the winner, that’s why they win
- winner gets a sacrificed lamb, which they cooked at the temple
- face is an introverted expression, no more archaic smile
- indicative of his connection to the divine & humility to the high honor received = enobling virtue
- humility over humble
- highest literature focused on the great, not mundane
39
Q
A
- *Name**: Artemisium Zeus (Poseidon)
- *Period**: Early Classical
- *Date**: c. 460 BC
- *Original Location:** Artemisium
- violent action; violent = strong action of movement
- found in a shipwreck off the coast of Artemisium
- suggested that it was Zeus b/c of the weapon
- thunderbolt was shorter & wouldn’t cover the face
- trident of Poseidon was longer & would cover the face
- trident would actually go above the head = more dynamic composition as well
- argument therefore has a flaw
- violent action seen from all sides
- significance of pose doesn’t come from a specific myth but action of power/destruction
- prep of throwing - arms pose & pushing off of foot
- beard is portrayed w/a bit of naturalism, hair is still cap-like
- avoids degree of patterning of the hair (previously inspired by middle east)
- sculptor is showing a moment of rest in a violent action
- god is poised to strike, is momentarily pausing beforehand to thinnk
- significant narrative = power at rest
- classical aesthetic = rest, poise, calmness, control, power
- human being is now the ideal = less on gods & heroes
- appearance of naturalism in a god figure is indicative of the people moving away from the divine & cult of heroes
40
Q
A
- *Name**: Erectheion plan
- *Period**: Late fifth-century Classical
- *Date**: c. 421-405 BC
- *Original Location**: Athens
41
Q
A
- *Name**: Erectheion. Reconstruction view from the west.
- *Period**: Late fifth-century Classical
- *Date**: c. 421-405 BC
- *Original Location**: Athens
42
Q
A
- *Name**: Erectheion. View from the north.
- *Period**: Late fifth-century Classical
- *Date**: c. 421-405 BC
- *Original Location**: Athens
43
Q
A
- *Name**: Erectheion. S. porch (“Caryatid Porch”). View from southeast
- *Period**: Late fifth-century Classical
- *Date**: c. 421-405 BC
- *Original Location**: Athens
44
Q
A
- *Name**: Temple of Athena Nike
- *Period**: Late fifth-century Classical
- *Date**: c.425 BC
- *Artist**: Possibly by Kallicrates
- *Original Location**: Athens
45
Q
A
- *Name**: Temple of Athena Nike. S. frieze: Persian defeat.
- *Period**: Late fifth-century Classical
- *Date**: c.425 BC
- *Original Location**: Athens
46
Q
A
- *Name**: Temple of Athena Nike. Relief: Nike, fr. Balustrade
- *Period**: Late fifth-century Classical
- *Date**: c.410 BC
- *Original Location:** Athens, Acropolis Museum
47
Q
A
- *Name**: Parapet of the Temple of Athena Nike. Relief: Victory prepares trophy
- *Period**: Late fifth-century Classical
- *Date**: c.410 BC
- *Artist**: Kallimachos?
- *Original Location**: Athens, Acropolis Museum
55
Q
metope
A
Definition: a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the epistyle (lintel that rests on the column) of a building of the Doric order.
56
Q
triglyph
A
Definition: an architectural term for the vertically channeled tablets of the Doric frieze, so called because of the angular channels in them, two perfect and one divided.
