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Greek Art Works > Works > Flashcards

Works Flashcards

1
Q

Settlement at Myrtos

A

EM II, Myrtos. Small settlement, with crooked streets and no grid like appearance. Use of the agglutinated system - settlement evolves according to needs of the inhabitants and not a fixed preconception for spatial organization

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2
Q

Tholos tombs

A

EM, Messara. Plain. Made of rock, round, flat roofed, used over generationsSouth central areas developed Tholos tombs

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3
Q

House tombs

A

EM, Island of Mochlos. Square, with a number of chambers. Was this a different culture from the one that made Tholos? Eastern tradition

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4
Q

Minoan cemetary at Phourni

A

EM, Central Crete. Collision of the style of tholos and house. Did they derive or express power by this combined form? The forms coexist without leading to new forms of funerary architecture

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5
Q

Knossos Palace

A

MM, Knossos. Slightly chaotic, with lots of insulae, unlike the more orderly Amarna. Central hall, along with other characteristics of Minoan palaces. Main entrance probably indicated by huge stairway and columned hall. Most important palace on Minoan Crete.

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6
Q

Phaistos Palace

A

MM, Phaistos. Smaller than Knossos. Polythyron system can be seen. Destroyed in fire in 1700 BCE, probably as a result of earthquake+warfare. Rebuilt

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7
Q

Mallia Palace

A

MM, Mallia. Round storage spaces for grain

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8
Q

Anemospilia sanctuary

A

MM, Central Crete, Juchtas Mountain. Finds: vase along wooden benches for votive offerings, a small moveable steatite alter, clay feet surrounded by burnt wood - cult statue? Four skeletons. Male preist with iron ring (precious), a seal with a boat, a sword in the ribs of the man. Luxurious vase with a cow on it. Evidence for human sacrifice - likely interuptted by an earthquake. Fancy container for the blood of the victim

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9
Q

Tripartite shrine at Knossos

A

MM, Next to Grand Staircase. Best explored palace shrine on Crete

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10
Q

Gournia settlement

A

LM I. Eastern(ish) Crete. No modern grid system; a broad path conducting people thru the streets but otherwise quite narrow. Lived upstairs with storage below. Houses built with coarse masonry, mud bricks and wood. Shows the usual features of Minoan domestic architecture and planning

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11
Q

Sklavokampos Villa

A

LM I, Remote area. Better architecture than domestic, but not always at the level of the palatial. Control of agricultural production

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12
Q

Tylissos Villa

A

LM, Near settlements. Architecture at level of palatial. Administrative intermediate between palace and settlement

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13
Q

Knossos Villa

A

LM, Palatial centers. Architecture and decoration follow those of palaces. Near palatial center; belonged to political elite around this central power.

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14
Q

Mycenae

A

LM III, 13th cent. BCE. Megaron - centerpiece with a central room with a hearth. Smaller than Minoan palaces. Lavishly decorated with wall paintings and precious materials, excellent masonry. Palaces were at the center of Mycenaean political, economic, and religious power

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15
Q

Tiryns

A

LM III, 1400-1200.

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16
Q

Pylos

A

LM

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17
Q

Mycenaean tholos tombs

A

LM, Phourni and elsewhere. Completely of stone and vaulted. Way for funeral procession, dromos, leads to round antechamber of room for offerings. After burial, entire tomb covered with earth for tumulus. Findings from some of these before palace age show that there was a highly developed elite that created palatial culture. Compare with Minoan tholos

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18
Q

Agios Onouphrios Ware

A

EMI. Whitish slip covered with linear and geometric motifs that follow the vase’s form. Most popular shape: the beak-spouted jug. Already in the EM period the Minoans had high quality ceramics

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19
Q

Vassiliki Ware

A

EMII. Dipped into reddish/brownish slip then fired. Accidental motifs. More slender body and spout than Vassiliki

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20
Q

Kamares Ware

A

MM, Phaistos (other palatial centers also produced). Thin walls of vases. Painted abstract motifs; some combine painted and decoration and relief. Ample use of colors. Finest ceramics to be produced on the island. Most sophisticated examples from Phaistos. Exported in large quantities

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21
Q

Marine Style Ware

A

LM. Motifs cover entire body of vase, inspired by nature. More popular this style became, the less sophisticated the relation between the ornamentation and the vase surface. Start as successor of Kamares ware

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22
Q

Floral Style ware

A

LM. Motifs cover entire body of vase, inspired by nature. Start as successor of Kamares ware

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23
Q

Blue Bird from House of Frescoes

A

MMIIIB and later, Knossos. Many colors including blue, green, red. Minoan wall-paintings found mostly in palace of Knossos and surrounding villas. Usually made by combining buon fresco and fresco secco. Inspired by nature, human beings - women in white and men in red

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24
Q

Grandstand Fresco

A

MMIIIB and later. Many red-colored men portrayed in a huge crowd

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25
Q

Dance Fresco

A

MMIIIB and later. Again the portrayal of a crowd - males and females, with dancers below

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26
Q

Taureador Panel

A

MMIIIB and later. Men and women - jumping over bulls

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27
Q

Minoan wall paintings fron Hyksos palace

A

MMIIIB and later. 16th cent. BCE, Egypt. Fragment, but compare with Taureador panel. Can see the spread of Minoan culture

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28
Q

Mistress of the Animals

A

MMIIIB and later, Thera. Minoan fashion, jewelry. Heavily influenced by Minoan art; if not an outpost of Crete, then under cultural control of. Lesser quality than Minoan art

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29
Q

Saffron-gatherers and Boxing boys

A

MMIIIB and later, Thera. Theran art was heavily influenced by Minoan art, and of lesser quality.

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30
Q

Spring fresco

A

MMIIIB and later

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31
Q

Miniature Frieze

A

MMIIIB and later. Boats and a building.

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32
Q

Steatite vases

A

LM I. BInclude figural representations. Steatite was the preferred material for stone vases, but it is soft and breaks very easily

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33
Q

Bull’s head Rhyton

A

LM IB, Knossos. Looks like a steatute or bronze head with gold horns

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34
Q

Stone vases

A

LM IB. Rare, but examples made of rock-crystal and alabaster have been found in palatial centers

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35
Q

The Goddess with the snakes (faience)

A

MM III - LM I. A Woman holding snakes up in two upraised hands.

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36
Q

Ivory figurine of a bull-leaper

A

MM-LM. Knossos

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37
Q

Gold pendant

A

MM IIB, Mallia. Bee pendant

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38
Q

So-called Master-Impression from Chania

A

LM IB - LM II.

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39
Q

Cups found in a tomb at Vapheio

A

LM IB. Two golden cups with image of bull. There is a debate over whether we are dealing with Minoan or Mycenaean original objects, or Mycenaean copy of Minoan (an imitation of the style), or one Minoan and one Mycenaean.

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40
Q

Mask of Agamemnon

A

LMIB, 16th cent. BCE. Mycenae, Grave circle A tomb V. There was a wealthy elite that could create objects like these even before they moved on to palaces.

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41
Q

Mycenaean daggers with inlaid decoration

A

LMIB, 16th cent. BCE. Mycenae. Inlaid gold decoration. Perhaps the only area where Mycenaeans surpassed Minoans in craftsmanship - again, interest in war

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42
Q

Warrior Krater

A

LM IIIB, Late 13th cent. BCE. Depiction of warriors on a krater. Interest of Mycenaean vase painters in depiction of humans in this medium and affinity towards warlike themes.

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43
Q

Mycenaean Marine Style Ware

A

LM IIIC. Much less detailed than Minoan marine ware. Mycenaean pottery does not reach the aesthetic and technical standards of Minoan - Myc marine style ends up as a degenerated and oversimplified version of Minoan LM I pottery

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44
Q

Pylos Mycenaean wall paintings - Battle scene and Lyre player

A

LH IIIB. Battle scene of stabbing, death. Use same bright color palette as Minoan but have more formalized concept of human body, less interest in background and nature. Combo of buon fresco and fresco secco. Unlike Minoans had war scenes

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45
Q

Lady of Mycenae, Ladies Frieze

A

LH IIIB. Women look similar to Minoan, but perhaps a more formalized conception of the human body. Interest in depicting women - often in Minoan fashion

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46
Q

Karphi (town)

A

1200-1000/950, Crete. Mud brick and wood walls with unworked or roughly worked foundations. After destruction of Mycenaean palaces, population fled to remote and easy-to-defend places. As if they reverted to the architecture of the early Minoan periods.

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47
Q

Goddess with upraised arms

A

SM. Combination of techniques - lower parts made on wheel, upper parts handmade. Birds and horns of consecration on her head.

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48
Q

Heroon

A

PG, 1000-950, Lefkandi, Euboea. Follows general popularity of apsidal house of period but has unparalleled size and collonades at three of its sides. A building of unparalleled size and craftsmanship on Euboea. Began as ruler’s house and was transformed into house-tomb and tumulus/pseudo-Mycenaean-tholos

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49
Q

Terracotta centaur

A

PG, Lefkandi. Interest in non-human/mythological

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50
Q

Apsidal house

A

PG, Asine. Popular form during PG period

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51
Q

Megaron A

A

SM/PG, Thermon. The area around it used constantly as a sanctuary until the end of antiquity. Is it a house or an early temple?

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52
Q

Nichoria geometrical houses

A

Geometric, Messenia. Include apsidal, rectangular. Many houses had a paved citcle - don’t know why; not a heart, as there are no traces of fire. Could be where sacred objects were placed.

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53
Q

Oval houses

A

Geometric, Euboea.

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54
Q

LG house - Lathouriza

A

LG, Lathouriza. Incorporates rectangular, apsidal, and circular/oval elements During the Geometric period, architects got creative with their shapes but the makeup of the houses was still quite humble. Three important places: Zagora, Vrokastro, Koukounaries. Fortification walls around a settlement were always much better built than the houses.

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55
Q

Zagora

A

Geometric, Andros. Can begin to see a slightly more organized city organization

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56
Q

Megara Hyblaea

A

LG, 729. Looks more gridlike than settlements before.Central part of the city remained unusued - seems like they were considering the future. Eventually put in administrative and religious structures - a far cry from agglutinated system.

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57
Q

Protogeometric ware

A

PG. Amphoras, skyphos with high conical foot. Popular motif: concentric circles and half-circles. Not really interested in figurative decoration. Experimenting with the dark-on-light and light-on-dark decorative systems

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58
Q

Early geometric ware

A

EG. Decorative element on neck - metope, and belly

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59
Q

Middle geometric ware

A

MG. Friezes on belly are more varied and broader, with metope on neck expanded to frieze. Detect the interest of artists in the human figure - for the first time, depiction of narrative on vases

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60
Q

Late geometric ware

A

LG. Almost entire vase covered with strictly defined decorative zones, often with series of grazing animalsDevelopment towards spreading decoration over fulll area of vase. Also interest in sea adventures, catastropes, ritual dances, myths

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61
Q

Funerary krater

A

LG. Perforated at bottom for libations. Decorated with themes of funerary rituals such as prothesis (laying out of deceased), ekphora (transport of deceased to burial site), funerary gamesKrater for male burial. Can see LG decoration. Also prothesis and ekphora

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62
Q

Funerary Amphora

A

LG. Perforated at bottom for libations. Decorated with themes of funerary rituals such as prothesis (laying out of deceased), ekphora (transport of deceased to burial site), funerary games. Amphora for female burial. LG style. Prothesis and ekphora

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63
Q

Fragment of vase

A

LG. Perhaps first time in history of Greek art that potters take enough pride to sign vases

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64
Q

Bronze tripods

A

LG. Freestanding tripods, handles often decorated with male warrior and horse. Most luxurious objects to be produced in LG period - dedicated to important sanctuaries.

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65
Q

Bronze figurines - males, horses, mythological

A

LG. Not naturalistic, often without facial features, body parts loosely modeled.Could be produced individually and were not only decorating tripods. Thousands of these figurines found in Olympia. Human figure conceived not as a whole but as addition of parts - abstracts the human figure in its most essential forms and emphasizes only details considered important

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66
Q

Mantiklos Apollon

A

700-675 BCE. Can see geometric influence - highly stylized with extraneous line down middle, triangular torso, extremely thin waist emphasized by belt. Overemphasized vertical axis. During first quarter of 7th century, sculptors still using forms developed by Geometric artists.

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67
Q

Apollon from Dreros

A

670 BCE. Legs are far more naturalistic than those of the Mantiklos Apollon

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68
Q

Bronze figurine

A

650 BCE, Delphi. Much more naturalistic than the preceding two; musculature is softer, there seems to be an emphasis on getting it more lifelike.Shows that the Kouros type is already evolving

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69
Q

Seated lower half of a woman

A

700-650, Gortyn, Crete. Very squareFirst life-size and over-life-size stone sculptures appearing around 670. Can see that they are just beginning to test out rock; retains much of the blocklike quality from a stone block. Note that in Crete, they used limestone and in the Cyclades, marble.

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70
Q

Seated woman

A

650-625, Prinias, Crete. All carved women wore a tight peplos and a short mantle. Still with squareness at the lap. Feet come out of the block. Hat associated with divinity

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71
Q

Dame d’Auxerre

A

650-625, Crete. Standing. Slender rectangular lower body, extremely thin waist with belt, triangular upper body. Hair is very stylized and looks like a wig: ornamental understanding of hair.

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72
Q

Fragment of woman

A

650-625, Eleutherna, Crete. Lower half of torso/peplos: blocklike, almost cylindrical quality.

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73
Q

Standing woman

A

650-625, Delos. Still very blocklike but also extremely thin. Overemphasis on flatness; part of this may be do to bad preservation/erosion.

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74
Q

Fragment of man

A

625-600, Delos. Sometimes different parts of body made of different kinds of stone.

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75
Q

Branchidae from Miletus

A

575-550, Miletus. Seated male figureBranchidae - local rulers. Seated usually reserved for gods or to depict social positions. Usually men.

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76
Q

Family momument by Geneleos

A

550, Samos. A seated mother, rare reclining figure of male.

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77
Q

Scribe from the Athenian Acropolis

A

520, Athens. Sitting could be associated with a function/social position, like writing as a scribe.

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78
Q

Endoios Athena

A
  1. Sitting could be associated with divinity (unusual for Athena to be portrayed sitting, though)
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79
Q

Dionysos

A
  1. Sitting - association with divinity.
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80
Q

“Apollon” of the Naxians

A

600, Delos. HugeGargantuan - experimenting with size of kouros, with the material. This experimentation is quickly abandoned.

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81
Q

New York Kouros

A

600-590. Stylized - hieroglyph eyes, stiff platelike hair, body has lines on it and the waist is really really smallSomething around the neck. Eyes extremely stylized/hieroglyph-like. Arms separate from torso; hands attached to body; unnatural long vertically falling stylized hair. Transitions from front to side, side to back, aren’t smooth - still traces of blocklike shape.

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82
Q

Kouros A

A

590, Sounion. Super stylized - all these lines indicating musculature, not naturalistic. Note that funerary and temple kouroi/korai look the same; context matters

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83
Q

Dipylon head

A

600 BCE. Stylized ears like an Ionic column, hieroglyph-like eyes

84
Q

Volomandra Kouros

A

570-560. Eyes are not like “hieroglyphs” anymore; Archaic smile dominating the facial expression. Rendering of muscles acquires greater plasticity

85
Q

Kroisos Kouros

A

540-530. Smile is indicated without dominating the face, long hair follows the neck-line organically, arms are about to be freed from the torso. Artist is more interested in a naturalistic representation of flesh - can even see bone under flesh at calf. Note: this does not mean artist is interested in realism.

86
Q

Aristodikos

A

510-500. Smile almost gone; body is slender without an overemphasized waistline, muscles are organically rendered. Arms are bent and away from the body.

87
Q

Kleobis and Biton

A

590, Delphi. Hard, muscular representation of the male body, almost triangular faces of kouroiPeloponnesian workshop. Stylistic differences due to where they were made

88
Q

Isches Kouros

A

570, Samos. Smooth and fleshy, with barely indicated muscles and round headsIonian workshop

89
Q

Merenda Kouros

A

550, Attica. Combine features of Ionian and Peloponnesian: muscular like Peloponnesian but slender like IonianAttic workshop

90
Q

Hera

A

570-560. Headless figure, almost columnlike: the folds of garment are extremely columnlike and do not fall in a naturalistic way.

91
Q

Lyon Kore

A

540-30. No smile, folds on garment extremely stylized. Every kore wears at least one piece of jewelry - diadem, earrings.

92
Q

Kore 675

A
  1. Archaic smile dominates facial features. Paint is especially well preserved - tries to imitate geometric embroidery, especially along the edge of fabrics. Evolution from not smiling to smiling to severe. Info: lavishly painted garments; for body parts, technique called ganosis: paste-like substance of olive oil and wax to apply, and polish. Gave statues an ivory-like whiteness and softness
93
Q

Kore 674

A

500 BCE. The archaic smile no longer dominates the kore’s face although it is still there. Evolution from more linear garment foldings to one that follow the body outline more naturally

94
Q

Euthydikos Kore

A
  1. Severe style - no smile whatsoever.
95
Q

Calf-bearer

A

560, Athens. Priest carrying a calf over his shoulders for sacrifice. This type of sculpture was for dedication inside a temple.

96
Q

Ram-bearer

A

590, Thasos. Unfinished; bearing a ram for sacrifice. Larger than life.

97
Q

Male figure from Samos

A

550, Samos. Some standing dressed kouroi from this time, especially from places like Samos

98
Q

Male figure from the Athenian Acropolis

A
  1. Some standing droessed male figures from the time, though not as common as nude kouroi
99
Q

Hoplite

A

520, Samos. Unusual to have a military statue at this time

100
Q

The Rider Rampin

A

550, Athens. Nude man wriding a horse (though only tiny fragments of horse survive. The figure of a rider was always associated with Athens and the male world

101
Q

Young male figure riding a hippalectryon

A

2nd half of 6th cent. Crazy experimentation! Hippalectryon = rooster and horse hybrid. This sort of experimentation pushed beyond all known boundaries. Poseidon riding a hippalectryon.

102
Q

Archermos Nike

A

550 BCE, Delos. Portrayal of mythological character - mythological statues were another type of this period

103
Q

Sphinx from Athens

A

550 BCE, Athens. Turning head towards side in relation to body. Associated with death

104
Q

Sphinx at Delphi

A

550, Delphi. Head facing forwards in relation to body. Associated with placement in sanctuaries.

105
Q

The Blond Ephebe

A
  1. Heavy eyelids, mouth, hair; no more Archaic smile. Braided hairstyle that goes around head; called blond ephebe because there was a yellowish tint at time of excavation. Head turned to sideShows the Severe Style - no smile, a heaviness. Breaking out of axial symmetry! Super important as the Archaic times emphasized this.
106
Q

The so-called Penelope

A
  1. Heavy eyes, nearly mournful expression, covered hair. Severe Style. Note that female figures at this time often had covered hair
107
Q

The Omphalos Apollon

A
  1. Ponderation; looks relaxed but weight is clearly resting on one leg. Greatest innovation of Severe style - the understanding of the human body as reflected in the posture. Differentiation of weight bearing leg carries into the rest of the body. Compare to kouros - huge break from the style of the kouros - has turned head and contraposto
108
Q

Kritios Boy

A
  1. Youthful male with ponderation. Greatest innovation of Severe style - the understanding of the human body as reflected in the posture. Differentiation of weight bearing leg carries into the rest of the body. Remember that in the Kouros, if there was a movement, it started and ended with the positioning of the legs. Here there is a sense of movement in the feet, the knees, the buttocks, the shoulders (though the statue shows figure relaxed and just standing)
109
Q

Riace Warriors

A
  1. The two warriors seem to have a posture similar to Doryphoros; no contrapposto though, just ponderation. Both are bearded and of bronze. Ponderation is more extreme in B than A
110
Q

Charioteer of Delphi

A
  1. Inlaid eyes with metal eyelashes extremely lifelike. Missing an arm. Originally meant to be with a chariot.Looks backwards: a conservative work. The medium of bronze should have allowed the sculptor to play a little more with movement, but he chose not to. Looks similar to Kore from Samos. Sophisticated technique - different bronzes used for different portions of face.
111
Q

The Tyrannicides (Harmodios and Aristogeiton)

A

477 BCE. Two men, one older one younger; bodies follow x axes and seem to balance one another out.These best show the new emphasis on axes other than the central vertical one. Also shows an innovative way of communication with the viewer - standing in front of the group one is transformed into the tyrant; standing behind gain a sort of solidarity. Active inclusion of viewer, only to be revesited in the Hellenistic. Tyrannicides - the conscious or accidental bringers of democracy. Could be one of the earliest groups that demand viewer to walk around and see.

112
Q

The God from Artemision

A
  1. Bronze - man looking like he is about to hurl something; both arms out. Playing with axes of body.
113
Q

Angelitos Athena

A
  1. Missing head and most of arms; dressed in a traditional peplos. Return of the traditional heavy peplos that hides body underneath; nevertheless weight distribution is evident because of ponderation. Seems like female figures in severe style are going back to a more blocky, almost columnar style.
114
Q

Peplophoros (Candia type)

A

Early classical/severe style. Dressed conservatively in a peplos; missing arms; heavy fabric prevents interplay between body and fabric. Return of the traditional heavy peplos that hides body underneath; nevertheless weight distribution is evident because of ponderation. Seems like female figures in severe style are going back to a more blocky, almost columnar style.

115
Q

Diskobolos

A

450, Myron. Male athlete at the moment of getting ready to throw the discus. Face is heavy and very geometrically conceived; hair that rests tightly on head reveals Severe Style connection. Myron - the connecting artist between Severe Style and High Classical. Severe elements but innovative concepts such as time. Also flat; does not encourage the viewer to walk around.

116
Q

Athena-Marsyas Group

A

450, Myron. Athena stands holding spear; Marsyas’s hand is up and surprise on his face in discovery. Reveals Myron’s interest not in the eternal and in ideals but rather in moments. Invention of the double flute.

117
Q

Doryphoros

A

450, Polykleitos. Muscular and squarish formed man; contraposto. Polykleitos came up with an almost mathematical understanding in order to portray the ideal human being. Weight-bearing leg always right; relaxed leg is not simply placed to side like in ponderation, but back while touching ground barely with toes. Relaxed leg corresponds with relaxed right arm; tense left right with tense left arm. Head always looks in direction of tensed right leg. Waist and shoulder axes contradict one another. Polykleitos as the continuation of the Peloponnesian style.

118
Q

Diadumenos

A

440, Polykleitos. Man tying headband on. Contraposto - the leg that is at the back on tiptoe. Experimentation of the free arm - both are held up. Compare with kouros.

119
Q

The Westmacott Ephebe

A

420, Polykleitos. Like a younger version of the Polykleitos.

120
Q

Athena Parthenos

A

447-438, Pheidias. Colossal chryselephantine cult statue known only by smaller Roman copies, the accuracy of which are questioned.Was slightly less than 42 feet

121
Q

Zeus Olympios

A

430, Pheidias. Colossal chryselephantine cult statueKnown only by representation on coins. Phedias was said to have been able to portray the essence of the gods. Slightly over 42 feet

122
Q

Athena Lemnia

A

450, Pheidias. Athena holding helmet, looking at reflection; other hand holding spear. Known as the most beautiful Athena of Greek antiquity. Closed image - Athena is engaged with herself and nobody else.

123
Q

Prokne and Itys

A

420, Alkamenes. Bad condition; most of Itys is missing and Prokne only has half of her head. Small boy leaning onto mother. Revolutionary to portray something like this - a gruesome story, placed on the acropolis so that nobody could avoid him. Bad preservation makes it impossible to know whether she is still deciding whether to kill him, or on the verge of doing so.

124
Q

Nike

A

420, Paionios. A showing of the wet style - garments cling intensely to Nike’s body. Wet style: garments especially on female figures have so many folds that the garment seems almost to be wet, clinging to the body. Richness contradicts horrors of Peloponnesian war.

125
Q

“Goddess” from the Athenian Agora

A
  1. Wet style looking pretty ridiculous; the folds are not even realistic anymore; they are decorative more than anything and look like stylized water. By the end of the Wet Style period things got pretty out of control.
126
Q

Chryselephantine statue of Asklepios at Epidauros

A

Early 4th . Tradition of Chryselephantine statue continues after 5th century. Asklepios mimicks Zeus at Olympia but is much smaller - humanizing statues at this time; they become more life-sized

127
Q

Eirene with Ploutos

A

375-370, Kephisodotos. Traditionally garmented woman holds an infant.Personification of peace - rare to personify abstract ideas in sculpture at the time. After the Peloponnesian war, anxiety about peace; cult for Eirene created, and she transitioned from literary figure to divine. Perhaps a cult statue. Holds Ploutos, the personification of wealth. The message: no wealth without peace. She is quite traditional - compare her dress and posture to Erechtheion Kore - very indebted to 5th century.

128
Q

Satyr (earlier)

A

360, Praxiteles. Satyr pours water over himself with a jug.Humanizing - trying to take away obviously inhuman and nasty features. Young male - carved with sensuality in mind so that some scholars note femininity. S-shaped body - how the arms balance one another. Interested in the correct depiction of muscularity, but not obsessed.

129
Q

Apollon Sauroktonos

A

350, Praxiteles. Sensually styled. Apollo killing a lizard. Playfulness in Praxitele’s work: the lizard killer. Apollo killed a dragon, and this is a playful version of it.

130
Q

Satyr (later)

A

340, Praxiteles. Satyr leans against tree stump. Again, taking away the obviously inhuman and undesireable aspects of a satyr. Muscularity almost completely absent.

131
Q

Aphrodite of Knidos

A

340, Praxiteles. Fully nude woman. First fully nude woman in Greek art - influences later understandings of Aphrodite - often portrayed nude later on.

132
Q

Hermes with Dionysos

A
  1. Again, can see Praxitele’s interest in sensuality. Also a connection to the motif started by his father, Kephisodotos: a mature figure holding a boy in his or her arms
133
Q

Apollon Patroos

A

340, Euphranor. Resembles a woman in many respects, especially in the garment - wanted comparison to Athena Parthenos. Wearing a peplos as opposed to chiton - peplos reserved for women. What are the boundaries when representing male/female? Can place Greek original and Roman copy side by side.

134
Q

Head from Tegea

A

340, Skopas. Deely set eyes and nearly mournful expressionSkopas was more interested in expressivity. Deep-set and half-opened eyes - experimenting with chiaroscuro - how th shadows can create a more expressive final result.

135
Q

Herakles Lansdowne

A

360, Skopas. Extremely muscular Herakles with a club; deeply set eyes.Skopas was interested in muscularity. His musculature seems particularly heavy and squarish.

136
Q

Maenad

A

360, Skopas. There is no side that can be called the primary side - encourags viewers to walk around. This is not only of the features that is always associated with Skopas

137
Q

Pothos

A

330, Skopas. Looks, in many respects, like a Praxiteles work.Must keep in mind that artists were willing to adapt style to fit subject matter. Pothos - the personification of desire - a figure that at the time was associated more with women than men. To make the viewer understand the ambivalence - male and female at the same time.

138
Q

Apoxyomenos

A

330, Lysippos. Male athlete scraping off oil after workout.Athletic figure but not a Polykleitan one. Brings the image into the viewer’s space - pushing the figure forwards. More slender body than Polykleitos can be associated with 4th century interest in what is rather than what should be. Smaller head than Polykleitos, and less exaggerated musculature.

139
Q

Eros

A

Lysippos. Young eros drawing bow back. Playing with the axes of the body - lines don’t line up exactly.

140
Q

So-called Alexander-Schwarzenberg

A

330, Lysippos. Anastole - emphasis on lionine hair.Lysippos was the favorite portraitist of Alexander.

141
Q

Herakles Farnese

A

330, Lysippos. Extremely muscular and atheletic Herakles.Lysippos - first to explore the back of an image and incorporate a major iconographic image into it - from the front, Herakles rests on his club; from the back, you see that he just finished a specific deeds - apples of Hesperids.

142
Q

Kairos

A

330, Lysippos. Winged man balancing scale on a razor. Lysippos as the bridge between Late Classical and Hellenistic. Kairos connects - word means “the right moment” in Ancient Greek. Poem about Kairos by Poseidippos - grab him by the hair. Again, visualization of an abstract concept. Meant to be seen in the round.

143
Q

Demosthenes

A

280, Polyeuktos. Older man with hands linked, looking downwards. Early Hellenistic - can observe artists being aware of past achievements but responding almost reactively. Closing the image to the viewer - creating distinction between viewer and subject. Demosthenes - a famous speaker. Emphasis on frontality, unlike Kairos and Apoxymenos. Shape created by hands closes off image; not looking at viewer. Indications of aging/realism. Would argue passionately against pro-Macedonian policies: perhaps his dress shows his manner of speaking to the assembly.

144
Q

Themis from Rhamnous

A

280, Chairestratos. Statue of woman in older style. Drawing a connection to the past - as if the image was made in the 5th century. This tendency to go backwards best observed with images of the divine.

145
Q

Tyche of Antiocheia

A

280, Eutychides. Woman sitting on the personification of the river in the area.Came to be understood as Tyche, but image originally was the personified image of the city. Fortifications of wall transformed into crown. Even though 3/4 view, still rather frontal.

146
Q

Young Girl

A

Early 3rd cent BCE. Girl sitting with legs crossed, looking downwards at an angle.When not dealing with gods, postures remain closed. The covered arm creates almost a wall in front of the girl. Playing with different axes

147
Q

Girl from Antium

A
  1. Standing girl reading.Closed image - she is preoccupied with herself/what she is doing
148
Q

Aphrodite

A

240, “Doidalsas”. Crouching nude Aphrodite. Recognition of the multiple ways of seeing objects. Once again, completely naked image of female divinity.

149
Q

Gaul and his wife

A
  1. Gaul stabbing himself in the chest - running blood - holding up body of dead wife.As if artists are creating pyramids within which they incorporate an image. Statues conquer surrounding space; one or two details stick out of the pyramidal frame. Also more violent, taboo, and realistic subject matter - the moment of suicide. Half opened mouths apparently associated with pathos.
150
Q

The Gaul Ludovisi

A
  1. Gaul dying - wound to the chest.Another Gaul - commemorating victory over Gauls perhaps, as he is dying. Before this, foreigners only represented on vase paintings. Hellenistic - more awareness of outside world.
151
Q

Faun Barberini

A
  1. Nude reclining faun. Sensuality of the 4th century satyr but more animalistic qualities of 5th and 6th centuries. Sexual connotations - associations with Dionysus. Invites viewer to walk around. Animalistic features: ears hidden by tail is very visible.
152
Q

Drunken Old Woman

A

Late 3rd. Old woman sitting and clutching bottle of wine like a baby.The idea of excessive important for the high Hellenistic. Pyramidal form. Revolutionary motif - interest in motif of lower class, poor, prostitutes. Probably prostitute as she has luxurious garment. Still talking about an “idealised” version of ugliness, however - the apogee, over-the-top. Holding the bottle like a baby. Pushing her head back in Dionysian ecstasy, just like the Maenad by Skopas.

153
Q

Old Fisherman

A
  1. The torso and head of an old fishermanFishermen and peasants - important motif in this time. Body of a working person in his old age, with a balding head.
154
Q

Old woman

A

Late 3rd/early 2nd. Face of woman - eyes half-closed, mouth toothlessOpen moth - almost toothless; decrepitute

155
Q

Fisher

A

Late 3rd. Old fisherman wearing a cloth around the waistSagging area at the belly; cloth around the waist - male citizens didn’t wear stuff like that often. Not a male citizen or an elite.

156
Q

Terme Boxer

A

3rd/2nd cent. Boxer sitting; bruised face, cauliflower ears, broken nose.Continuing tradition of athletes; however, realism: focus on head - cheeks are swollen, nose is crooked, ear is boxed in cauliflower style. In the past, athletes were pretty much exclusively upper class; in the Hellenistic, more and more professional athletes from the lower segments of society.

157
Q

Nike of Samothrace

A
  1. Body and wings preserved - shows lots of movement.Even with frontality, playing extensively with axis of body. As if lower part is moving in one direction and the body is trying to move the other way. Impression that she is about to take off; in reality the image just landed or is about to land.
158
Q

Marsyas’s punishment

A

First half of 2nd c. Sculptural group - flayer and MarsyasMoment right before flaying happens - emotional and agonizing moments. Their faces allow insight into their emotional worlds.

159
Q

Satyr and Hermaphrodite

A

Second half of 2nd cent. Hermaphrodite pushing away satyr by face.Late Hellenistic sculpture: groups become flatter, and deliver to the viewer via a frontal view. The viewer does not need to walk around to know what is going on.

160
Q

Poseidon from Melos

A

Late 2nd c. Poseidon holding one arm up, with cloth wrapped around waist. Late Hellenistic: image is becoming flatter; very frontal view.

161
Q

Aphrodite from Melos

A

Late 2nd c. Somewhat conservative standing Aphrodite, with cloth wrapped around waist.Compare with Aphrodite Capua of 4th century. Capua has a more involved interplay between fabric and body. Much more conservative than the Aphrodite of Knidos and the former.

162
Q

Blinding of Polyphemus

A
  1. From Villa of Emperor Tiberius in Sperlonga. Multi-figural composition of men about to stab giant in eye.Throughout Hellenistic, interest in big multi-figural groups with almost exclusively mythological subjects.
163
Q

Skylla

A

2nd/1st c. From Villa of Emperor Tiberius in Sperlonga. Many figures interacting in complicated ways.Hellenistic interest in mythological multi-figural groups. Complicated interaction of the figures - not one placed next to the other.

164
Q

Laokoon and His Sons

A

3rd, 2nd, or 1st, Hagesandros, Athanadoros, Polydoros. An example of how difficult it is to date Hellenistic figures. There are arguments for all dates, even one that talks about the possibility that this was forged by Michelangelo. Professor prefers personally late 2nd or early 1st, as the flatness of the arrangement seems to indicate that it is a Late Hellenistic work.

165
Q

Homer

A
  1. Looks like a respectable member of society; eyes closed
166
Q

Homer

A

2nd cent. Realistic rendering of deep wrinkles.Makes it clear that portraits follow the rules of their periods, as the age characterisation is more realistivc than in the classical version of Homer. Wrinkles are not just little indentations but rather, valley-like folds.

167
Q

Pindar

A
  1. Tidy hair, well-combed beard gathered at the bottom in a knot. Hairstyle carries meaning as tied beard associated with conservative members of the elite from central and western Greece. He wrote poems for elite athletes
168
Q

Hesiod

A

2nd cent. Slightly disheveled looking man with lots of wrinkles. Works and days - wrote about life of peasants. Not elitist like Pindar. This is not a portrait that shows an intellectual or person in his best shape. His hair and beard are disheveled and he has deep wrinkles.

169
Q

Euripides

A
  1. Kind of messy hair. Hair covers his ears - may indicate his revolutionary attitude that challenged precedent.
170
Q

Sophocles

A
  1. Well-groomed man wrapped up orator style. The three statues placed prominently in Theater of dionysus in Athens; got ideas of what the three men looked like through written sources. Sophocles - long cloak provides clues about his life outside of writing (orator, important member of society)
171
Q

Aischines

A
  1. Dressed like an orator
172
Q

Socrates

A
  1. Looks highly like a satyr (the ugly non-Praxitelian kind). Still associated with elite - well-combed beard.
173
Q

Plato

A
  1. Portrait tries to convey older member of Athenian society; everything is in its place.
174
Q

Aristoteles

A
  1. Portrait may emphasise his interest in Earthly rather than ideal issues.
175
Q

Anonymous cynic philosopher

A

Hellenistic. The typical portrayal of cynics at this time.

176
Q

Themistocles

A
  1. Not an ideal image of a citizen; shows associations with Herakles in both positive and negative ways. Thick neck and broad face: thickheaded, stubborn, choleric.
177
Q

Pericles

A
  1. Ideal-looking man with helmetGeneric approach to understanding of an important politician. The apogee of what a member of the Athenian elite should be. Helmet adds to the importance of the figure - one of the most important generals of Athenian history.
178
Q

Alexander

A
  1. Youthful looking man - no beard. Not about experience anymore, but rather the dynamism of youth - starts a new tradition.
179
Q

Seleucos I

A
  1. Both youthful and mature characteristics - no beard, but can see beginning of wrinkles.Tries to use ideas of Alexander with showing youth. Yet skin shows age, combining youthful dynamism of Alexander with experience of age.
180
Q

Ptolemaios I

A
  1. Coin showing beardless yet mature-looking man
181
Q

Menander

A

Early 3rd, Kephisodotos and Timarchos. Beardless yet mature looking statue - has wrinkles around eyes.Portraits of Alexander affect not only portraits of kings but also intellectuals - no beard. The beard no longer as a signifier of the elite.

182
Q

Socrates

A
  1. Satyr-like features less emphasized than in the 380 version but is still quite evident.
183
Q

Grave stele from Prinias

A

670, Crete. Types: women often shown in female roles for the time, producing garments. Men shown as warriors.

184
Q

Grave stele for Aristion by Aristokles

A
  1. Originally painted, with a gold helmet and tip of beard. Is signed “The work of Aristokles” - not that strange for the artist to sign a funerary monument. Usually signature is not at front however; must have been respected. Typical warrior stele of period.
185
Q

Part of grave stele (mother and child)

A
  1. Rare elements of emotionality.
186
Q

Lethykoi by Painter of Munich

A
  1. Shows little boy waving as he goes to charon. Very fragile - expensive offering, as placing it outdoors for a couple of months would lead to destruction of the painting. Produced when stelae were banned.
187
Q

Lethykoi by Sabouroff Painter

A
  1. Shows the prothesis of a woman. Very fragile - expensive offering, as placing it outdoors for a couple of months would lead to destruction of the painting. Produced when stelae were banned.
188
Q

Grave stele of young girl from Paros

A
  1. There is a rare one of a little girl kissing dove. Unique: chubbiness of young girl - kissing pet doves. Emotionality. Showing youth also via hair down.
189
Q

Grave stele for Hegeso

A
  1. Typical: shows servant with mistress, jewelry box; woman with hair up and a veil. Naiskos form - a temple-like framework.
190
Q

Grave Naiskos for Aristonautes

A
  1. Remember that during this period (4th century), the figures within the temple framework got so high-relief that they are basically in the round.
191
Q

Grave marble lekythos for Philurgos and Kalippe

A
  1. Remember that during this period, vases in the lekythoi form were created in marble. As if they are monumental, petrified versions of lekythoi.
192
Q

Stele of Hediste

A
  1. Just a stele with a painted ribbon. A more humble funeral marker. There are many paintings on funerary vases that show ribbons wrapped around monuments. Not a single written source saying what this is, but probably an indicator that the grave is taken care of (you could lose inheritance if it was proved that you did not take care of parents’ grave)
193
Q

Grave stele for Chiaredemos and Lykeas

A
  1. Rare to have a representation of siblings of almost the same age. One is dressed and the other not; unknown why.
194
Q

Stele for Archestrate

A
  1. Kid pleading for dead mother’s attention. Notion of sadness in Greek Art - not a single case where child can grasp the mother’s attention. Naiskos form.
195
Q

Stele for Korallion

A
  1. Handshake with women only in funerary context (Dexiosis). In daily life, only men shaking hands.
196
Q

Grave monument for Dexileos

A
  1. Picture does not make sense as he would not be able to stab his adversary from that position…but at the same time that makes the composition more dynamic. Also in real life a cavalryman would not go against a hoplite in battle. Placed over empty grave (public grave for those killed in battle).
197
Q

“Ilissos-stele”

A
  1. Considered one of the nicest funerary monuments. The deceased looks pretty Skopadic. Also there is an interesting triangular interplay - old man looks at deceased, deceased looks at viewer. Ilissos - a river.
198
Q

Grave stele for Paramythion

A
  1. Combination of forms - a stele with a funerary vase on it.
199
Q

Relief of the mourning Athena

A
  1. Rare to have a divinity pictured alone in a votive relief.
200
Q

The “Eleusinian” relief

A
  1. Unparalleled in terms of size. The only relief copied in roman times.
201
Q

Votive relief to Zeus Meilichios

A

Mid-4th century. Shows typical form of votive relief - family coming in, often with sacrifices; approaching the divinity; altar in between. Altar is both the separating and connecting factor, as communication with the divinity happens via sacrifice at altar.

202
Q

Votive relief of Archinos to Amphiaros

A

First half of 4th century. Unique because it shows three different times - the three stages of Archinos’ healing process. Patient sleeps and is touched by holy snake, cured by god himself, and stands healthy.

203
Q

Votive reliefs from Argos

A

2nd/1st cent. BCE. Near the end of the Hellenistic, votives become flat and basically just like incised lines in a surface.

204
Q

Grave stele for Ampharete

A
  1. Rare depiction of old age. At this time, everything was idealized so there were few indications of age most of the time. Several wrinkles on her neck show that she was older, a grandmother (this is confirmed in the inscription).
205
Q

Metropolitan museum stele

A

Archaic. Shows typical arrangement for stele: sphinx, floral decoration, main figural field, secondary figural field (with scary apotropaic figures). Unusual to see siblings. Boy holds small vase with perfumed oil for athletes.

206
Q

Archaic reliefs that experiment with the notion of realism

A

Archaic. Individual with discus (specific representation of athlete). Boxer with a broken nose and swollen ear (some aspect of realism).

Greek Art Works (1 decks)

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