2. Greek Sculpture Claire Wu, Denise, Hughes

3. Greek Sculpture The Archaic Period----Claire&Denise The Classical Period--------Hughes Parthenon&Sculptures-----Claire The Hellenistic Period------Denise

4. Similarity& Influence Greek Proportion Harmony,Perfection Peak:High Classical Style (ca.480-400 B.C.E.) A standard of beauty and excellence Influential to Western cultural expression

5. The Archaic Period ca.700-480 BCE 1.Influence:Egypt 2.Function: Memorial,Cult statues, and Funeral monument 3.Features: a. Male Nude b.Archaic smile c. freestanding d.left foot striding out e. life size or larger

6. Kouros (Male youth ) (Early Archaic) P.112 Figure 5.6 Freestanding Unclothed young man Frontal pose Rigid and vertical pose Arms closed to his sides Left foot striding forward body weight shared equally on both feet When can I dress up?

7. Greek v.s. Egypt Similar: proportion and technique Different: 1.Greek:nude Egypt: kilt skirt 2.Greek:freestanding Egypt: with the slab of stone to support 3.Weight distribution Greek: even Egypt:uneven 4.Greek: more realistic Don’t wanna walk like Egyptian You! CopyCat!

8. Calf-Bearer: (ca. 575-550 B.C.E) More realistic: abdominal muscles, sensitive bull, semi-precious stone (pearls…etc) More gentle →smile (figure 5.7, p112)

9. Kroisos (Late Archaic) (figure 5.8, p113) The warrior Attention to knee and calf muscles Harmony: stands aggressively forward, but forearms in ward Energy Blissful smile (more) Reflect optimism in early Greeks

10. The Classical Period (480-323 B.C.E)

11. Time line 1.The Early classical period : 480~450 B.C 2.The High Classical age : 450~400 B.C 3.The Late classical period : 400~323 B.C

12. The classical style Feature –The meaning of classical –The ideal proportion style –Solemn and contemplative Influence: –Standard of beauty

13. The early classical period 1.Compare and contrast between Koisos and Kritos Boy 2. compare and contrast two different cannon

14. Kroisos Figure 5.8 –The Archaic period –Robust –Forearm turn in toward his body –Blissful smile Kritios Figure 5.9 The classical period Sensuous Weight on his left leg Contrapposto (weight shift ) Protrude at juncture No smile Severe Style

15. The human proportion Figure 5.2 Calculated Flexible Symmetry Correspond to human body Differences between two cannon The Egyptian Cannon Fixed proportion Not calculated

16. The High Classical age 1.Doryphorus (Spear- Bearer) 2.The Discobolus (Discus-thrower) 3.Zeus

17. Doryphorus (Spear-Bearer ) Figure 5.1 The embodiment of proportion Ideal warrior athlete Energy Poised Grace

18. The Discobolus By Mylon The captured movement Ideal proportion

19. Zeus Figure 5.10 Vigorous action Tense body The length of arms and legs Geometric muscles Symmetrical trapezoids Wavy line

20. The late classical period 1.Application:Weight Sift and Curve! 2.Compare and contrast between Kore and Aphrodite of Knido

21. Aphrodite of knidos Figure 5.12 Late Classical Ideal female style curved Naked Weight Shift Kore Figure 5.11 Archaic Ornamental Smiling With clothed

22. The Parthenon (p.116 Figure5.13)

23. Greek Architecture:The Parthenon 448-432 BCE Two architects: Ictinus and Kallicrates Sculptor: Phidas Dedication: Athena Religious &Secular Purpose: to serve the living, not the dead (Egypt) Human proportion(Golden Ratio), symmetry

24. The Greek order (p.117. F.5.16) 1.Doric 2.Ionic 3.Corinthian Simple&Severe  Delicate-----  the most ornate &Ornamental

25. The Sculpture of the Parthenon (p.119. F.5.18) Location 1.pediment 2.metopes 3.frieze (outer wall of cella) Subject: about Athena Feature: High Relief

26. East pediment of the Parthenon (p.119.f.5.19)

27. Three Goddesses (p.119.F.5.20)

28. West pediment of the Parthenon

29. "Lapith and Centaur" Metope p.120 Figure5.21

30. “A Group of Young Horsemen” (p.120.F.5.22)from the north frieze

31. “water bearer, musician, and votaries” from east frieze (p.121.f.5.23)

32. Hellenistic Age 320-30 B.C.E

33. The Diffusion of the Classical Style The Hellenistic Age (“Greek-like”) Alexander the Great (356-323 BCE) Son of Philip of Macedonia, Student of Aristotle An empire: from Greece and Egypt to India After his death, The empire split into three sections: Egypt, Persia, and Macedonia-Greece →starts the Hellenistic Age (300 years)

34. The Hellenistic World (Map 5.1) (P 126, figure 5.1) P 126, figure 5.27

35. From Hellenic to Hellenistic ) 希臘語言和文化的 Spread of Hellenic 希臘人的 culture throughout the civilized world →“cosmopolitanism, urbanism, and the blending of Greek, African, and Asian cultures” → “Personal needs & individual emotion over and above the good of community”

36. Features of Architecture From city to empire →large, monumental Utilitarian Structure: Lighthouse, theaters, libraries Corinthian & Ionic colonnade

37. The Great Library: Temple of Muses “Think Tank” At Alexandria

38. The Lighthouse

39. The Theater

40. the Alter of Zeus At Pergamon (180 B.C.E) To celebrate the victory of minor kingdom of Pergamon over Gauls 20-foot high, 300-foot based platform (Figure 5.28, p127)

41. Massive Ionic Colonnade Mythological battle (Olympic gods vs. giants Symbolize the Victory of Intellect Over Barbarians More theatrical in style 誇張的

42. Athena Battling with Acyoneus Strong light and dark contrast Classical restraint → violent passion (Figure 5.29, p128)

43. Hellenistic Sculpture’ Features Private / individual emotion More lifelike & less idealized Fleeting mood & momentary expression Broad the range of subjects: young children to old, even deformed people

44. Spear-Bearer V.S. Apollo Belvedere

45. High classical Hellenistic Sensuous nude statue More animated, Feminized, Self-conscious style

46. Nike of Samothrace Greek goddess Victory Discovered in 1863, now is in the Louvre Museum, Paris Head & arms are missing (figure 5.31,p129)

47. Carving techniques: dynamic contrasts of light and dark semi-transparent robes Deeply cut drapery Bold display of Vigorous movement

48. Sensuous body as the winged figure strides into the wind Flying & just landed lightly

50. The Nike of Samothrace in Las Vegas Caesar Palace

51. "When we go to battle and win, we say it is NIKE.“ -Greek

52. Laocoon and His Sons mythological story: priest of Apollo Trojan War Punishment by Gods Excavation in 1506 at Rome Michelangelo praised it, “incredible.” (figure 5.32, p129)

53. Dramatic moment Tragic role Tortuous pose, stained muscles, and painful expression Sums up the Hellenistic art Memorable symbol: Classical idealism →history

54. Conclusion: Greek Art: Harmonious and perfect proportion Style: Keeping changing Feature: Humanism&Realism&Idealism More Natural! Clarity, harmony, and proportioned order

55. Work Cited http://academic.reed.edu/humanities/110Tech/k ouroi.htmlhttp://academic.reed.edu/humanities/110Tech/k ouroi.html http://www.greeklandscapes.com/greece/athens _museum_archaic.htmlhttp://www.greeklandscapes.com/greece/athens _museum_archaic.html http://0rz.tw/d91YG http://www- personal.umich.edu/~mxb/archaic_greece.html http://www.sikyon.com/Athens/Parthenon/part henon_eg.htmlhttp://www.sikyon.com/Athens/Parthenon/part henon_eg.html http://stmail.chna.edu.tw/~b9216003/show.htm http://en.wikipedia.org/wiki/Sculpture_of_Ancient_Greece#Sculpture http://www.infoplease.com/ce6/ent/A0858474.html

56. The End We luv W.C. !!!!!!!!!