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Greek Sculpture The Archaic Period-----------------------Eve The Classical Period---------------Phoenix The Hellenistic Period------------Katherine.

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Presentation on theme: "Greek Sculpture The Archaic Period-----------------------Eve The Classical Period---------------Phoenix The Hellenistic Period------------Katherine."— Presentation transcript:

1 Greek Sculpture The Archaic Period Eve The Classical Period Phoenix The Hellenistic Period Katherine

2 The Archaic Period Eve Chang

3 The Archaic Period (ca B.C.E ) Style: freestanding Characteristic: 1.male nude (natural) 2.ideal form 3.frontal pose, rigid look & left foot extended forward…etc 4.proportionally geometric entities: →influence by Egypt

4 Function: 1.decorations of religious buildings 2.immortal reminders of a deceased

5 Representative Statues Kouros (Early Archaic) : 1.male 2.rigid pose-vertical 3.arms closed to its body 4.wide shoulder 5.left foot stretched forward

6 Kouros (Late Archaic): 1.Kroisos (warrior) 2.anatomical attention (calf, knee, arm ) 3.blissful smile 4.more like human

7 Kore: 1.female 2.less important than kouros 3.smiling 4.ornamental & columnar

8

9 Calf-Bearer: 1.movement & plot 2.more realistic 3.abdominal muscles & bull calf 4.eyes:once inlaid with pearls mother-of-pearl gray agates lapis lazuli

10 at dig site on Acropolis in 1865

11 Greek Statue Egyptian Statue 1. technical, proportional and obvious formal similarities 2. Greek: unclothed Egyptian: wear a kilt 3. Greek: freestanding Egyptian: a support lean against a back support

12 The Classical Period Phoenix Zhang

13 The Classical Period ( B.C.E.) Early Classical Period (480 B.C.E) High Classical Period ( B.C.E) Late Classical Period ( B.C.E) During the Classical period, Greek sculptors focused their energies on the human figure

14 Early Classical Period (480 B.C.E) Marble figure known as the Kritios Boy The concept of “ weight shift “ first applied to sculpture Counterpos e: the body turns slightly to one side and its weight rests mainly on one leg Implied the concept of movement

15 Compare and contrast: Kroisos vs. Kritios Boy Pose: Rigid → relaxed but balanced Weight shift: both legs → on the left leg Facial expression: smiling → solemn, contemplative (P.112 Figure 5.8) (P.113 Figure 5.9)

16 Early Classical Period (480 B.C.E) Knows as “Severe Style” : the change in facial expression reflects the reevaluation of human potential and self- knowledge

17 High Classical Period ( B.C.E) The application of a Platonic canon of proportions to sculpture “Canon” of Proportions: an idealized mathematical system for depictions of the human body. Geometric & symmetrical concept evolved

18 High Classical Masterpiece Doryphorus (Spear-Bearer) Sculptor: Polycletius Qualities of idea warrior-athlete: energy, confidence and grace Idealism: presenting the idea conception of male figure (Broad shoulders, thickly muscled limbs and muscular.) “ Canon ” of Proportions: Harmonious balance (P.108 Figure 5.1)

19 High Classical Period Prominent feature: capture the “idea moment” before action Depiction of more vigorous action Dynamically posed of the figures (P.113 Discus Thrower) (P.114 Zeus/ Poseidon)

20 Late Classical Period Remains the concept of “ Weight Shift ” “ curve ” in the body is more pronounced Ex : Hermes and Dionysos

21 Late Classical Period female figure was depicted completely naked Ex: The Aphrodite of Knidos point: 1. Smooth curve of the body 2. Idea female form: Tall Small breasts Broad hips

22 Hellenistic Art Katherine Liu

23 Hellenistic Era Larger, monumental form Utilitarian Structure E.g. Lighthouse Theatre Library

24 Hellenic Lighthouse

25 Hellenic Theatre

26 Hellenic Library

27 Altar of Zeus Place: Pergamon Erected time: 180 B.C.E Purpose: To celebrate victory minor kingdom of Pergamon V.S. Gauls

28 Pergamon

29 20-foot high platform

30 Ionic Colonnade

31 Athena Battling with Acyoneus

32 Free-standing Hellenistic sculpture Momentary Expression Spear-Bearer V.S. High classical Apollo Belvedere Animated, feminized, self-conscious style

33 Spear-Bearer V.S. Apollo Belvedere

34 Carving Techniques Contrast of light and dark Semi-transparent robes Vigorous movement Deeply cut drapery

35 Nike of Samothrace

36 Laocoon and His son

37 ‧ ‧ sculpture.htm ‧ ‧ authority_2_greek.html ‧ ‧ ‧ ‧ Architecture.html Work Cited


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