1. Review: Art of Ancient Greece

2. Kallikrates and Iktinos
Parthenon, Acropolis, Athens
BCE.

3. Kritian Boy 480 BCE Kritian Boy 480 BCE
unlike earlier Archaic sculpture; the boy strikes an easy pose
weight rests on his left leg and his right leg bends slightly at the knee
there is a noticeable curve in his spine which counters the slight shifting of his hips and there is a subtle drop in one of his shoulders
the slight turn of his head invites the viewer to follow his gaze
his solemn expression lacks any trace of the Archaic smile
an important transitional sculpture—bridges the “gap” between the Archaic kouroi and the ideal figures of the later Classical Period

4. Spear Bearer (Doryphoros) c. 450-440 BCE a marble copy height: 6’6”
Polykleitos
Spear Bearer (Doryphoros) c BCE a marble copy
Polykleitos was the best-known art theorist of the Classical period;
about 450 BCE, he developed a set of rules for constructing the ideal human figure which he set down in a treatise know as The Canon
a system of ratios between a basic unit and the length of various body parts
also included guidelines for symmetria – relationships of body parts one to the other
relationship of weight bearing and relaxed legs and arms --contrapposto– the cross-balancing of supporting and free elements in a figure
pattern of tension and relaxation
hip-tilt more pronounced than Kritian Boy; head turned to the same side as the engaged leg
read the unengaged legs to discern the “narrative”—the Spear Bearer seems to be stepping forward; Warrior A seems to have paused
facial expression: calm noble detachment
Polykleitos
Spear Bearer (Doryphoros) c BCE a marble copy height: 6’6” 4

5. Praxiteles Hermes and the Infant Dionysos
Hellenistic or Roman copy after 4th century original
a new canon of proportions was developed; smaller head and more youthful body than Polykleitos’ Spear Bearer (Doryphoros); note the off-balance S-curve pose
note the contrast between the texture of the flesh and the crumpled draperies as well as the rough locks of hair
calm noble detachment gave way to a sensitive rendering of wistful introspection, dreaminess or fleeting anxiety
note the humanized treatment of the subjects—two gods—one adult and one infant—a moment of absorbed companionship—less austere than previous sculptures
Praxiteles Hermes and the Infant Dionysos 5

6. Laocoon and His Sons Hagesandros, Polydoros, and Athanadoros of Rhodes
marble height: 8’
the Trojans’ priest Laocoon warned the Trojans not to take the giant wooden horse; the gods were on the side of the Greeks during the Trojan War—they sent sea serpents to destroy Laocoon and his sons as they walked along the shore of the sea
composed to be seen from the front “only” and from a short distance
another example of expressionism 6

7. original marble of c. 350 BCE
Praxiteles
Aphrodite of Knidos
original marble of c. 350 BCE
Praxiteles
Aphrodite of Knidos
height: 6’8”
original marble of c. 350 BCE
Knidos is a city in Asia Minor
first statue by a well-known sculptor to represent a nude woman
a composite
the original was placed in an open shrine where people could view it from every side 7

8. Aphrodite of Melos or Venus de Milo c. 150 BCE
marble height: 6’ 10”
now at the Musee de Louvre, Paris
meant to recall Aphrodite by Praxiteles
twisting stance and strong projection of the knee are typical of Hellenistic art
drapery has a rich, three dimensional quality associated with Hellenistic sculpture of Pergamon and Rhodes 8

9. Nike (Victory) of Samothrace c. 190 BCE
from the sanctuary of the Great Gods, Samothrace
c. 190 BCE
now at the Musee de Louvre, Paris 9

10. Nike (Victory) of Samothrace c. 190 BCE
from the sanctuary of the Great Gods, Samothrace
c. 190 BCE
now at the Musee de Louvre, Paris 10

11. New Slides: Roman Art

12. Augustus of Primaporta
early 1st century

13. Apollodorus of Damascus
The Trajan’s market was built between 101 A.D. to 110 A.D by the architect, Apollodorus of Damascus.
Apollodorus of Damascus
Trajan’s Market
Rome, Italy 110 CE 13

14. Apollodorus was integral in designing the famous Trjan’s Forum which bears the emperor’s name and borders the market.

15. The Colosseum CE

16. Arch of Titus Rome c. 81 C.E.

17. Arch of Constantine Rome c. 312-315 C.E.

18. Column of Trajan
Rome or after 117 CE Overall height with base 125’ Column alone 97’ 8”
The column is a continuous pictorial narrative of the Dacian campaign. 2,500 individual figures are carved into the column. In 1587 CE, the gilded bronze statue of Trajan was replaced with a statue of Saint Peter, as ordered by Pope Sixtus V. The natural and architectural elements in the scene are kept small to emphasize the important figures—later we will refer to this as medieval scale. 18

19. Column of Trajan 19

20. Porta Augusta Perugia, Italy 2nd century BCE

21. Basilica of Maxentius and Constantine Finished 312 C.E.
The Basilica Maxentius was the largest building in the Roman Forum. Construction began under Emperor Maxentius in 308 CE and was completed by Constantine after Maxentius’ defeat in 312 CE.

22. Floorplan for the Basilica Maxentius and Constantine Completed 312 CE
Note the nave, clerestory, and side aisles. This building was built using arches instead of columns to support the ceiling.
Floorplan for the Basilica Maxentius and Constantine Completed 312 CE

23. Temple of Portunus Late 2nd century BCE Forum Boarium, Rome

25. Maison Carree c. 20 BCE Nimes, France

26. The Pantheon contains the basic Pythagorean units.
It has three main architectural components. A rectangular portico or porch with its triangular pediment connects to a cylindrical drum in the cella or main temple structure, and is surmounted by a rotunda or dome.
rectangle, triangle, cylinder, circle (sphere)
Viewers could see the sacred geometry of the cosmos in the triangle of pedimental portico roof, rectangle of portico and hemisphere of roof that actually becomes a full sphere in that space between roof and marble floor. This is a perfect 44-meter [around 150 ft.] sphere matching the 44-meter width of the cylindrical main cella. Hadrian intended its mathematical polygons to be harmoniously integrated, although the portico may not be as carefully connected to the drum as is the marvelous rotunda. The 9 meter (around 30 feet) diameter oculus in the ceiling serves as a mirror of the round heaven – appropriately open to the sky - and its graduated ribbed ceiling coffers immediately below corresponded to the five planetary gods.
Pantheon Rome CE

27. Pantheon Rome CE
the walls rise nearly seventy-five feet; they are twenty feet thick
the walls support a bowl-shaped dome that is 143 feet in diameter and 143 feet from the floor to the summit: the effect that is created is one of a perfect circle

28. Ara Pacis, Rome 13-9 BCE marble
the Altar of Augustan Peace
the Ara Pacis commemorates Augustus’s triumphal return to Rome after establishing Roman rile in Gaul (present day France and Belgium)
this work is a carefully articulated expression of political propaganda: it is meant to celebrate Augustus as both a warrior and peacemaker
Ara Pacis, Rome 13-9 BCE marble

29. 3
The depiction of children in an official relief was new to the Augustan period and reflects Augustan’s desire to promote family life.
Roman Realism: a portrait of the imperial family
1. Tiberius (the next emperor after Augustus, Livia’s eldest son)
2. Antonia (niece of Augustus)
3. Drusus (Livia’s younger son, married to Antonia)
4. Germanicus
5. Gnaeus
6. Domitia 6 1 4 5 2
Imperial Procession, detail of a relief on the south side of the Ara Pacis

30. Allegory of Peace, relief on the east side of the Ara Pacis
The mother Earth (Tellus Mater) nurtures the Roman People
on either side: the land wind (left): swan, jug of fresh water, and the vegetation symbolizes fertility of Roman farms and the sea wind (right): dominance over the Mediterranean
Allegory of Peace, relief on the east side of the Ara Pacis

31. Battle of centaurs and wild beasts, 118-28 A.D.
This Floor mosaic may be a copy of a painting by late fifth century B.C. artist
Battle of centaurs and wild beasts, A.D.
from Hadrian’s villa, Tivoli

32. The Unswept Floor
2nd century A.D
By Herakleitos

33. peristyle garden, House of the Vetti, Pompeii Mid-1st century CE
Peristyle- A garden surrounded by a colonnaded walkway or portico.
When the climate permitted, peristyle gardens were turned into outdoor living rooms with painted walls, sculptures, and fountains.
peristyle garden, House of the Vetti, Pompeii
Mid-1st century CE

34. House of the Silver Wedding, Pompeii: view of the atrium from the tablinum

35. House of M. Frontus, Pompeii atrium

36. House of Publius Fannius--reconstructed Excavated at the Villa of P
House of Publius Fannius--reconstructed Excavated at the Villa of P. Fannius Synistor, Boscoreale, about a mile from Pompeii. Wall surfaces seem to dissolve behind columns and lintels that frame architectural forms and visual effects like the backdrop to the stage.
This type of painting is thought to be inspired by the theater
The artist used intuitive perspective to create a general impression of real space.

37. House of Publius Fannius--reconstructed

38. House of Publius Fannius--reconstructed