Quiz 2 Flashcards
Kritios Boy
480 BC
Athens, Greece
Early Classical Greek
Sculpted as a dedication to a goddess marking the end of funerary markers. Concerned with portraying how a human being actually stands compared to the stiff poses of the kouroi. Features contrapposto (counter balance).
Temple of Athena Aphaia
500 BC
Aegina, Greece
Archaic Period
Temple featuring doric columns. Compare to the Temple of Hera I. The Athena temple is more compact, slender and widely spaced. Features a west and east pediment of archaic and classical style.
West Pediment of the Temple of Athena
500-490 BC
Aegina, Greece
Archaic Period
Features themes dealing with the battle of the Greeks and Trojans. Statues represent ethos, internal being, or the soldiers. It can be seen in the dying soldier who lies in a lounging pose with a smile directed at the viewer even though he has an arrow in his heart. Another example is the Archer (Paris?) who balances on three points in a less natural pose.
The East Pediment from the Temple of Athena
490-480 BC
Aegina, Greece
Archaic Period/Early Classical Style
Features themes dealing with the battle of the Greeks and Trojans. The statues represent pathos. Compared to the West Pediment, the dying soldier displays a more natural, complex pose. He reacts to his wound as a dying man would. It is believed that the East Pediment was destroyed and rebuilt in the classical style. Another example is the Archer (Herakles) who balances on two points in a more natural pose.
Temple of Zeus
472-457 BC
Olympia, Greece
Early Classical Style
The first great monument of classical style and the site of the Olympic games. It harbored a giant statue of zeus made of gold and ivory. Features a east pediment (chariot race) and a west pediment (centaur battle).
Temple of Zeus East Pediment
470-456 BC
Olympea, Greece
Early Classical Style
Myth about a race between the king and a suitor (only known in Olympia). The artist chose to show the moment of tension before the race instead of the climax.
Seer of the East Pediment of Zeus
470-456 BC
Olympia, Greece
Early Classical Style
In the pediment featuring the myth about the race between the king and a suitor. The only character to react in the scene is the old seer who knows the horror of the future. The artist had an interest in prepresenting old age and reaction.
West Pediment of the Temple of Zeus
470-457 BC
Olympia, Greece
Early Classical Style
This pediment features the story of the bloody battle between the centaurs and the lapiths. Features the climax of bloody, violent battle. The statues all feature emotion and reaction (what you see vs. conceptual representation).
Apollo, Centaur and Bride & Centaur and Bride & Centaur Biting Youth
500-450 BC
Olympia, Greece
Early Classical Style
Artist depicted centaurs reacting and fighting with lack of control while the lapiths react and fight with control. Natural poses and vivid emotion of the early classical style.
Metopes of the Temple of Zeus
470-457 BC
Olympia, Greece
Early Classical Style
The metopes alternate between still action and mid action scenes. The two details are of “Herakles and the Stymphalian Birds” and “Athena, Herakles and Atlas.” Herakles and Athena age and mature thourought the metopes. The artist had an interest in showing the visable and impermanent. Greek art is always changing, there is always something new.
Chiton Kore
530-515 BC
Athens, Greece
Archaic Greek
The assymetrical folds in the fabric make the statue appear more lifelike. Relieves the stiffness of the contemporary kouroi.
Calf Bearer (moschophoros)
560 BC
Athens, Greece
Archaic Period
Calf bearer offering tribute to Athena for his prosperity (compare to votive statues). Features the archaic smile used to portray people that are alive.
The Acropolis of Athens
480-470 BC
Athens, Greece
Ancient Greek
The Acropolis of Athens was rebuilt under the command of Pericles after the Persian sack. Pericles took money from the Delian League (Plutarch writing) to rebuild the Acropolis. By product of tyranny and abuse of power rather than Athenian democracy.
Pericles (Roman Copy)
429 BC
Athens, Greece
Kresilas
Classical Greek portrait appears golike. Pericles was thought to have had an elongated head which the artist both hid and displayed.
Parthenon
447-432 BC
Athens, Greece
High Classical
Doric temple with some ionic details. Every side of the building is subtly curved. Optical illusions make it seem bigger than it actually is. Focuses on balance and symmetry (bringing back the eternal). Largest sanctuary for Athena. Harbored a giant Athena statue made of gold and ivory.
Athena Parthenos
447 BC
Athens, Greece
High Classical Style (Phidias)
Harbored in the Pantheon. Statue alludes to the victory against the Perisans with Nike (the winged female personification of victory). Greeks against barbarians, amazonians, giants… Defeat of the barbaric east.
East Pediment of the Parthenon
447-432 BC
Athens, Greece
High Classical (Phidias)
Features the gods attending the birth of Athena. The fabric and cloth become ornimental and naturalistic. Monumental presence, but completely relaxed, organic forms (Classical Style). Depicts the eternal, not raw like the centaur battle.
West Pediment of the Parthenon
447-432 BC
Athens, Greece
High Classical (Phidias)
Features the race between Athena and Poseidon for control of Athens. The fabric and cloth become ornimental and naturalistic. Monumental presence, but completely relaxed, organic forms (Classical Style). Depicts the eternal, not raw like the centaur battle.
South Metope 27: Lapith and Centaur
447-432 BC
Athens, Greece (Parthenon)
High Classical (Phidias)
Compare to the West Pediment of the Temple of Zeus which depicts the same scene of centaur fighting lapith. The figures are much more fluid in movement, the drapery flows with the figure. Though the heads are not present, if they were they would be calm and etheral compared to emotion.
West, South and North Parthenon Friezes
447-432 BC
Athens, Greece
High Classical
The friezes depict the Panathenaic Festival the occured every four years in Athens. The procession begins with marshals and youths gathered on their horses. The elders organize the procession (mature people are idealistically depicted, generic). People are bringing water and animals to the sacrifice. Shows athenians egotistic obbsession with themselves.
East Parthenon Frieze
447-432 BC
Athens, Greece
The gods do not take part in the festival or determine its outcome. They are merely spectators. Emphasizing Athenian egotism. The gods are turned away and you can see a butt (innappropriate for the time). This is a contemporary piece that takes place in the present as opposed to most art that depicts historical events and myths.
Propylaia
480-393 BC
Athens, Greece
High Classical (Mnesikles)
New monumental entrance to the Acropolis. Doric in the exterior and Ionic in the interior. The change of ground level was disguised by splitting the gate into easern and western sections.
Erechtheion
480-393 BC
Athens, Greece
High Classical
Replacement temple for the Archaic temple the Persians destroyed. Features a unique assymetrical, ionic plan. The porch is held up by Caryatid’s like those of the Ionic Siphnian Treasury. However, these Caryatid’s are much more life like in the classical style.
Temple of Athena Nike
427-424 BC
Athens, Greece
High Classical
Reference again to the Greek’s victory against the Perians. Art is now specific occasions of human events (battle at Marathon). Parepat is decorated with exquiset reliefs.
Nike Adjusting Her Sandal
410-407 BC
Athens, Greece
High Classical
Artist made an awkward pose look elegant. The drapery flows so well with her body it appears see through. The drapery also forms inricate linear patterns bringing life to the figure.
Tyrannicides
477 BC
Tivoli, Greece
Early Classical
This statue features Harmodious and Aristogeiton, the tyrants who assasinated the tyrant of Athens leading to democracy in Athens. The statues are a flat plane (much like the statue of Zeus), their torsos to not rotate compared to many High Classical statues.
Cup By The Foundry Painter
480 BC
Vulci, Greece
Ancient Greek
Depicts a sculpting workshop and the process of the lost wax casting. Most artisans had slaves and never touched a tool. They made sacrifices as tribute to ensure safety while using the lost wax technique. The technique revolutionized materieals (bronze, marble) and allowed the original mold to be saved.
Chariotteer of Delphi & The Sanctuary of Apollo
478-474 BC
Delphi, Greece
Early Classical
Instead of presenting the climax the artist chose to present the moment before or after the race (calm victory). Compare to the east pediment of the temple of Zeus. The statue has no sense of body, hidden by the fabric. He is elongated to appear above the horses.
Zeus (Poseidon)
460 BC
Artemision, Greece
Early Classical
The statue features a static pose between motion and rest. The artist distorted proportions to achieve symmetry (elongated arms). Similar to the Tyrannicides in lack of contraposto. The statue is somewhat realistic and shows the transition from early classical to high classical.
Discobolos
450 BC
Athens, Greece
High Classical (Myron)
Similar and contrasting to the statue of Zeus. Balance between action and rest. Twisting torso in space.
Riace Warriors
460-450 BC
Riace, Greece
Early Classical
Riace A is a muscular bearded man with silver teeth. Riace be has the same size and stance but is less muscular and bearded. They are not symmetrical, their hips twist in space (the beginning of contraposto). Compare to the geometrical kouros.
Doryphoros
440 BC
Pmopeii, Greece
High Classical (Polykleitos)
The spear bearer, a balance between youth and maturity. Features the controposto prominent in the high classical era. Expression is blank, returns to archaic ethos compared to blatant emotion of the early classical/severe style.
