1. GREEK ART 3500 B.C.E. – 300 C.E

2. Anavysos Kouros. Archaic Greek. c. 530 B. C. E
Anavysos Kouros. Archaic Greek. c. 530 B.C.E. Marble with remnants of paint.
The statue shows great strides in the field of naturalism.
The proportions of the body are so naturalistic that they border on realism.
The rounded-ness of the body, face, torso, and limbs shows attention to the naturalistic elements.
Still, the piece is still very much stylized about the face and hair. There are no individual characteristics except for the Archaic Greek smile.
It was created with subtractive sculptural technique.
A kouros is a male “youth” statue.
This statue is larger than life (6'4" tall).
The inscription around the base invites visitors to stay and morn Krousos.

3. Archic smile
Stylized hair
Arms to side
Frontal
Left leg advances

4. Kroisos (Kouros from Anavysos).
'Stay and mourn at the tomb for dead Kroisos whom
violent Ares destroyed, fighting in the front rank'.
This statue was commissioned by the family of Kroises, the young man sculpted as the Anavysos Kouros, who died nobly in a battle.
The statue was placed over his grave with an inscription to remember and mourn him. The sculpture is an example of family patronage of art, funerary statuary for the common people, and the advances made towards naturalistic, individual characteristics even if they are fully accomplished in this piece.
The frontal position with one foot forward is seen in Egyptian art as well and shows the power and authority of the figure.
Kroisos (Kouros from Anavysos).
c. 525 BC. Marble, height 6'4

5. Apart from its basic scheme, virtually all other features of the Egyptian statue were discarded in the Greek kouros:  (1) The kouros was presented nude. (2) The left leg is placed much less forward and the right leg is immediately behind the left leg so that the body weight is evenly distributed and the impression is created that the figure is walking.  (3) The kouros is freestanding; it has neither back support nor stone support between the legs. The sculpture is independent and free in space. 

7. Peplos Kore from the Acropolis. Archaic Greek. c. 530 B. C. E
Peplos Kore from the Acropolis. Archaic Greek. c. 530 B.C.E. Marble, painted details.
This is an Archaic votive sculpture of a young woman, known as a kore.
The broken hand was offering an object to the Athena. The hand, emerging into our own space, breaks out of the mold of static Archaic statues.
She is sculpted from marble and is 4' high and there are still traces of encaustic paint (applied when hot).
The sculpture is named for the peplos garment she is wearing.
It is made with a subtractive technique.
This kore is naturalistic but still very frontal in design.
She has softer characteristics and features that enhance her feminine figure.
She also bears the famous Archaic Greek smile.

8. The Peplos Kore is a chronological sister of the Kroisos, so we can compare the male and female ideals they represent. Unlike the kouros, she is dressed. A peplos is a long woolen belted garment. Dressing her leaves us with a totally different ideal, one in which women’s very anatomy is obscured in contrast to men’s.
Scholars have suggested that the purpose of statues such as the Peplos Kore and other korai (the plural) was to serve as votive offerings.
This figure was a votive offering in Athena’s temple on the Acropolis in Athens, broken at the time of Xerxes’s sacking of Athens in 480 B.C.E., You can see where her left arm was added in an extended position. Yellow color remains in her hair. The polychrome image is hard to accept, but it is important to remember that this was the way the ancient Greeks decorated their works of art.

9. Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460–450 B.C.E. Clay, red-figure technique (white highlights).
This ceramic krater, or Urn, is made of red clay with black glaze to create a negative effect with light space figures and patterns surrounding the vase.
Kraters were used as wine-mixing bowls and as decorative pieces for public display.

10. The Niobid Painter (whose initials appear on the vase) probably inspired by the large frescoes produced in Athens and Delphi, decorated this exceptional krater with two scenes in which the many figures rise in tiers on lines of ground that evoke an undulating landscape.
On the other side is Heracles surrounded by Athena and heroes in arms. Eleven figures are placed at different levels. Only two of them are recognizable: Heracles, in the center, holding his club and bow, with his lion skin over his left arm, and Athena on the left. Several warriors surround them in varying poses.
On one side, Apollo and Artemis are shown decimating the children of Niobe with their arrows. Niobe was a goddess of beauty who had many children. She challenged the goddess Lido (mother of Artemis and Apollo) and Lido punished Niobe for the challenge by killing all of Niobid's children. The message of the narrative is never challenge the gods.
"Kerameikos 11" by DerHexer - Own work. Licensed under Creative Commons Attribution-Share Alike via Wikimedia Commons -

11. Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447–410 B. C. E
Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447–410 B.C.E. Marble.

12. The High Classical Period
Athens, its agora or marketplace, and its acropolis or citadel, represent the ideals of the fifth century Greek city state. Together they represent the architectural embodiment of democracy, the city as a communal organization, removed from but still revering their roots in nature. Because of this, the city of Athens is a model of urban ideals.
agora: The agora is the marketplace, where goods are bought and sold. People come together to argue, discuss and teach (Socrates, Plato and Aristotle). It is the town square- an open outdoor room shaped by long buildings at the sides, the stoas.
acropolis: The acropolis is the ancient fortress of the town. The acropolis becomes the religious enter of the city. It is the site of ancient temples to the gods. The largest temple, the Parthenon, is dedicated to Athena, the patron goddess of wisdom and strategy.
Reconstruction of The
Acropolis, Athens

13. The orientation of the gateway to the Acropolis was changed, in order to align the Propylaia with the long east-west axis of the Parthenon. The purpose was to create a monumental entrance to the Acropolis. The central portion of the Propylaia is composed of an east and a west porch, each possessing six Doric columns.
Within the building, the change in ground level was accommodated by the cutting of steps leading to the five gateways, each supplied with a lockable wooden door: the largest central gateway was by contrast ramped in order to facilitate the passage of animals and wheeled vehicles on to the Acropolis.

14. The Parthenon
The Parthenon is dedicated to the patron deity of Athens, Athena, goddess of war, patron of the arts and crafts, and the personification of women.
According to the mythology, Athena was chosen as the patron god of Athens when she out-gifted the god Poseidon by creating the olive tree for the first king of Athens. The king chose her gift over Poseidon's salt-water spring and she became the symbol and adoration of the city of Athens.
The Parthenon is located on the Acropolis, the temple mount, of Athens. The Parthenon is the symbol of civic pride and self-confidence of the classical period in Athens.
Greek temples were not houses of worship. Their worship altars were outside on the east, facing the rising sun. The temples were decorated lavishly with figurative imagery, in the deity’s honor. The imagery was placed on the outside as the worship took place there.
The temple was in the form of a large house, with an open porch around the exterior and open halls at either end. It was decorated with figurative sculpture over the lintel and in the triangular pediment over the lintel and before the entrance, at each end. Originally made of wood, the temples of the greatest communities were eventually constructed in stone.

15. The Orders of Greek Architecture (Greek Orders): 1. Doric (the oldest)
The temple is an elongated rectangular hall surrounded by an outer veranda with a row of pillars all around the exterior and a pair of rooms on the inside (cellas), fronted by an inner porch, fronted by a second rank of pillars. The structure is symmetrical, with a slightly pent roof offering a slim triangular pediment. Two pediments frame each longitudinal end. The earliest temples had layouts in proportions of 1:3 and later ones moved toward 1:2. The Greeks wrote of beauty being a matter of proportions.
The decorative ornamentation was limited largely to the lintels and pediments. There were three main styles, each with its own combination of pillar, capitol and decorative scheme.
The Orders of Greek Architecture (Greek Orders): 1. Doric (the oldest)
plain capital and columns had no base
three bar triglyph and metope frieze
flutes on columns come to a point
2. Ionic
derived from the Ionians on the west coast of Turkey
scrolled capital
column has a base
flutes on columns are flat edged
continuous frieze
3. Corinthian
similar to Ionic
fancy and ornate capital consisting of acanthus leaf decorations

16. The Parthenon was designed by the architects, Iktinos and Kallicrates
The Parthenon was designed by the architects, Iktinos and Kallicrates. It is built of local marble from Mount Pendeli and was built by a large number of sculptors, masons, painters and other craftsmen.
The Parthenon in Athens took the Greeks
approximately 10 years to construct the building,
B.C.E.
The Parthenon is 65 feet high at its apex.
The peristyle consists of 46 Doric columns,
17 on each side, 6 on each end (not counting
the corner columns twice).
It is built post and lintel – a series of columns (posts)
with wood beams (lintels) laid across the top.
Walls and a roof were added to this basic skeleton.
The architects of the Parthenon avoided straight lines
because there are no straight lines in nature. By not having
any, therefore, the temple blended more harmoniously into
its surroundings.
There is no cement or mortar. To get a perfect fit between the stones, the Greeks moved the stones back and forth against each other until they fit perfectly together. To make sure that the whole building stayed together, they used bronze and iron clamps and dowels in their buildings.

17. The colossal statue of the Athena Parthenos was created by Phiidias
The colossal statue of the Athena Parthenos was created by Phiidias. The original work was made of gold and ivory and stood some 40 feet. The goddess stood, wearing a tunic, aegis, helmet, and holding the goddess of victory, Nike in her extended right hand, while her left had a spear.
Within the shield curled the sacred snake of Erichthonios, while the shield interior itself carried in relief the figures of giants assaulting Olympus. The relief on the exterior of the shield depicted the Amazons attacking the Acropolis.
Athena's sandals featured a centauromachy while her helmet displayed griffins on the cheek pieces, griffins and deer on the visor, and a sphinx and two Pegasoi as crest supports.
One of the most famous sculptures of antiquity
survived a half millennium until it was destroyed.

19. Athena’s competition with Poseidon
Birth of Athena, full grown from Zeus’ head

20. Hestia, Dione and Aphrodite from the east pediment of the Parthenon,
Hestia, Dione and Aphrodite from the east pediment of the Parthenon,. London, British Museum.
Though the pediments of the Parthenon are badly damaged, particularly so on the the west, we do know the subjects depicted. The west side depicts the fight between Athena and Poseidon for sovereignty over Athens, and the birth of Athena on the east side. The over-life size figures were sculpted in the round between B.C.E. 

21. The "Plaque of the Ergastines"
The fragment is part of the 160-meter long frieze decorating the Parthenon colonnade. The Parthenon, part treasure-house, part temple, was the centerpiece of a series of major works undertaken in the aftermath of the highly destructive Persian Wars that had ravaged the city-state from 490–480 BC.

22. Relief of a winged Victory figure unlacing her sandal from the marble parapet erected around the Nike bastion.
The sanctuary of Athena Nike was further elaborated by the addition of a beautifully sculpted marble parapet around the Temple base. These reliefs showed winged Nikai (Victory figures) preparing to sacrifice bulls to Athena.
“Images of Nike, such as the famous depiction of Nike adjusting her sandal , are carved in relief. In this scene Nike is portrayed standing on one leg as she bends over a raised foot and knee to adjust her sandal. Her body is depicted in the new High Classical style. Unlike Archaic sculpture, this scene actually depicts Nike's body. Her body and muscles are clearly distinguished underneath her clothing. Her clothing appears transparent with deep heavy folds in a style known as wet drapery. This style allows sculptors to depict the body of a woman while still preserving the modesty of the female figure. Although Nike's body is visible, she remains fully clothed.”
Beautiful movement of the body!

23. Doryphoros (Spear Bearer). Polykleitos. Original 450–440 B. C. E
Doryphoros (Spear Bearer). Polykleitos. Original 450–440 B.C.E. Roman copy (marble) of Greek original (bronze).
The Doryphorus is exactly what his title describes his to be- a spear thrower.
The sculpture is of a nude, young man that once held a wooden spear in his left hand.
The form is a collection of opposites: tension versus relaxed pose, and limbs in opposition.
Classical sculpture shows the movement to realism.

24. During the third quarter of the fifth century B. C. E
During the third quarter of the fifth century B.C.E., the two great centers of sculptural development and production were Athens and Argos. While Phiidias and Myron were Athenians, Polykleitos originated from Argos. The problem is we only know Polykleitos' work only through later copies.
Polykleitos was famous in antiquity for having written a treatise called the Canon (or Rule), which set out a new formula for freestanding figures, based on empirical principles. The Canon does not survive, but the principles seem to have consisted of mathematical measurements and proportions. The Doryphoros, a Polykleitos' creation in bronze, embodies these principles, depicting a figure perfectly balanced between tension and relaxation, action and inaction, and youth and maturity.
The original title of the piece was "CANON".    Polykleitos suggested beauty could be described within a mathematical model.  This would be the sculptural equivalent of the use of mathematical proportions in architecture.  

25. The Doryphorus was one of the earliest statues to be show in the full contrapposto position. This is where all the weight of the figure appears to rest on one leg.
The idea of harmony of opposites is introduced; this is when a relaxed limb compliments a tense limb creating asymmetrical balance. This idea creates movement without moving.
The piece is asymmetrical, which helps it create an S-curved line starting at the head and ending at the feet. This helps emphasize the movement of the figure.
To stand, however, the statue still needs additional sculpted support like the tree stump.

26. Winged Victory of Samothrace. Hellenistic Greek. c. 190 B.C.E. Marble.

27. Nike of Samothrace is a beautiful example of the genius of Greek sculptors. One of the most iconic statues of the period, it commemorates a naval victory. This marble depicts Nike, who has lost her arms and head, alighting onto the prow of the ship. The prow is visible beneath her feet and the scene is filled with theatricality. Nike's feet, legs, and body thrust forward in contradiction to her drapery and wings that stream backwards. Her clothing whips around her from the wind and her wings lift upwards. This depiction provides the impression that she has just landed onto the ship's prow. In addition to the sculpting, the figure was most likely set within a fountain.
The rigid material of stone appears to be gracefully moving in the wind. The winged goddess appears to be in a process of suspended flight as her outstretched wings labor gracefully to prevent the force of gravity from anchoring the heavy stone to the ground. The twists and movement of her garment conform faithfully to her body underneath. This imaginary wind that shapes the drapery becomes a physical presence and an intricate part of the sculpture. The wind gives form to the figure and breathes life into the human presence of Nike.

29. It has been suggested that the Victory held a trumpet, a wreath, or a fillet in her right hand. However, the hand found in Samothrace in 1950 had an open palm and two outstretched fingers, suggesting that she was not holding anything and was simply holding her hand up in a gesture of greeting. The two feet, sculpted separately from the rest of the statue, have been lost. Their position has been recreated thanks to the shape of the surface where they would have been placed. The right foot was just alighting on the ship’s deck, while the left was still in the air. The Victory was not striding forward, but rather alighting on the ship, barely skimming the base.

30. Seated boxer. Hellenistic Greek. c. 100 B.C.E. Bronze.

31. Portraiture, of course, did not confine itself to the gods and glorious athletes. As an opposite is this original bronze statue. It was found in Rome in 1885, and is essentially complete, except for the missing eyeballs; the seat is new.
The statue depicts a nude boxer with a massive muscular frame. His hands are covered with boxing gloves made of leather. The man is evidently a professional boxer who is resting after a match. Every detail of the sculpture points to that this boxer was not the winner. Swollen ears, scratches, and drops of blood give witness to the results of the fight. His swollen nose and cheeks bear evidence of having been badly bruised. He looks over his shoulder with a defeated look on his face. The matches were mainly fought with punches and with no clothing except for the gloves. The fact that a lowly, beaten entertainer was selected to be the subject of this sculpture speaks to the Greek's want to celebrate the life of the everyday man.
From top to toe the statue exhibits the highest grade of technical skill. The original purpose of the work is unknown.