Midterm Flashcards by Krystal Hasiak

*Name**: Copy of the Diskobolos (Discus Thrower)
*Period**: Early Classical
*Date**: c. 450 BC
*Artist**: Myron

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*Name**: Copy of the Doryphoros (Spear Bearer)
*Period**: Early Classical
*Date**: c. 450-440 BC
*Artist**: Polykleitos

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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

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*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

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*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”

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*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

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*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

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*Name**: Parthenon, plan.
*Period**: Classical
*Date**: 447-438 BC
*Artists**: Ictinus and Kallicrates
*Original Location:** Athens

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*Name**: Parthenon. Restoration drawing
*Period**: Classical
*Date**: 447-438 BC
*Artists**: Ictinus and Kallicrates
*Original Location:** Athens

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*Name**: Parthenon. View from northwest
*Period**: Classical
*Date**: 447-438 BC
*Artists**: Ictinus and Kallicrates
*Original Location**: Athens, Acropolis

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*Name**: Parthenon. Reconstruction drawing of east pediment.
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of east pediment. Detail: left part
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location:** Athens

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*Name**: Parthenon. E. pediment,Theseus (Dionysos)
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of east pediment. Det:right part
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. E. pediment. Det: Dione & Aphrodite
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of West pediment
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of W. pediment. Left side
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of W. pediment. Right side.
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. W. pediment. Iris.
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original** Location: Athens

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*Name**: Parthenon. South Metope: Lapith triumphing over a Centaur
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. North frieze: Mounted procession
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. East frieze: Maidens & Leaders
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*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

*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

*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

*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

*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

*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

*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

*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

*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)

*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

*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

*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

*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

*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

*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

*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

*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

*Name**: Erectheion plan
*Period**: Late fifth-century Classical
*Date**: c. 421-405 BC
*Original Location**: Athens

*Name**: Erectheion. Reconstruction view from the west.
*Period**: Late fifth-century Classical
*Date**: c. 421-405 BC
*Original Location**: Athens

*Name**: Erectheion. View from the north.
*Period**: Late fifth-century Classical
*Date**: c. 421-405 BC
*Original Location**: Athens

*Name**: Erectheion. S. porch (“Caryatid Porch”). View from southeast
*Period**: Late fifth-century Classical
*Date**: c. 421-405 BC
*Original Location**: Athens

*Name**: Temple of Athena Nike
*Period**: Late fifth-century Classical
*Date**: c.425 BC
*Artist**: Possibly by Kallicrates
*Original Location**: Athens

*Name**: Temple of Athena Nike. S. frieze: Persian defeat.
*Period**: Late fifth-century Classical
*Date**: c.425 BC
*Original Location**: Athens

*Name**: Temple of Athena Nike. Relief: Nike, fr. Balustrade
*Period**: Late fifth-century Classical
*Date**: c.410 BC
*Original Location:** Athens, Acropolis Museum

*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

archaic

c. 700 - 490/480 BC

people were recovering from Dark Age

phoenicians introdduced them to alphabet

introduction of iron

up until battle of marathon

Early Classical

aka Severe Style

c. 480 - c. 450 BC

happened after the Persian War

battle of Marathon (490), thermopylae (480), salamis (480, platea (479)

xerxes & army flees, persians never come back & greece will never be conquered by persia

free to develop their civilization

convinced they could do ANYTHING

believed polis system was awesome & now they had proof

Develops Golden/Classical Age where all the art happens

entasis

en·ta·sis /ˈentəsis/
Noun
A slight convex curve in the shaft of a column, introduced to correct the visual illusion of concavity produced by a straight shaft.

geometric

c. 900-725 BC

greece is recovering from Dark Ages after the Great Catastrophe

ability to read & write was lost

kore

female sculpture
Korai = plural
clothed portrayals

kouros

male sculpture
korai = plural
nude & young portrayal

Used as:

grave markers
monuments to athletes
put outside temples for honor/votive offerings
erected to heroes

Hero = not just someone who fought valiantly, but a hero of the people = a SAVIOR

cult of Heroes
male nudity is meant to indicate something other than nakedness
representation of heroes
state of physical perfection = ideal
platonic form (“form” or “idea”)

orientalizing

c. 700-600 BC

overlapped w/archaic

metope

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.

triglyph

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.