Scholars Flashcards
Spivey on the Greek Revolution
Concept that great art is contingent on civil/conceptual liberty is undercut by likes of the belvedere torso created post-alexandrian under the dynasts
Believes in competition between artists as the cause of innovation (still reliant on idea that naturalism was the end goal)
‘technical empowermet’ as core reason for change in art style
Seperation from malignant foreign powers
Disagrees with idea that naturalism was developed to depict narratives faithfully - disservice to other cultures which achieve this in different ways
Woodford on ‘Greek Revolution’
Beauty not in the naturalism but rather in mathematical symmetry and proportion which just resembles naturalism
shift towards further naturalism simply a product of technique not changing, only thing a sculptor could do to stand out is refine the details of the established type
As naturalism increases, conventional posture begins to look stiff (retrospective and based on modern sensibilities)
Trend in garmets for Korai
By the 6th century BC the Athenian standard for female statues was women in Chitons, and a heavy woolen cloak diagonally draped, skirts held to one side (left) and right hand holding an offering (pg 53 to understand folding) - standard in final third of the 6th century BC, with exceptions (peplos kore, found on the athenian acropolis, wearing a peplos)
Gombrich on ‘Greek Revolution’
Does not agree that naturalism is the natural progression of art - Egyptian and Persian so the norm is schemata
Grew from the need to express narrative faithfully
Introduction of democracy
Boardman on the ‘Greek Revolution’
Early classical relief sculpture: distant in mood from archaic - demonstrate new dimension of feeling which sculptors express through subtler, less emphatic use of conventional poses and figures
Carpenter on ‘Greek Revolution’
Classical style emerged from unified ideal of beauty, truth and goodness (complex means to say ‘mood of the time’
