1. 1 Chapter 5 Gods, Heroes, and Athletes: The Art of Ancient Greece pp. 120-164 Gardner’s Art Through the Ages, 12e

2. 2 Summary Geometric statues & vases: Strong Asian influence, stylized with geometric patterns. Archaic Sculpture: Starts with, but moves away from Egyptian influence. Temples: Influenced by near east. Move from the simple Cretan megaron, through Doric to Ionic.. Doric Ionic Severely plainHighly ornamental Echinus convex Echinus small and supports and cushionlike bolster ending in scroll-like spirals Frieze subdivided into Frieze left open to provide triglyphs and metopes continuous field for relief sculptures Massive in appearanceLight and airy in appearance

3. 3 The Greek World

4. 4 TOPICS Early & High Classical Period Temple of Zeus, Olympia Statuary: The Perfect Statue The Athenian Acropolis: Parthenon Propylaia Erechtheion Temple of Nike Late Classical Hellentistic

5. 5 Early & High Classical: Architectural Sculpture East pediment Temple of Zeus, Olympia, ca 500-490 BCE Represents the chariot race between Pelops and King Oinomaos, the story told in Aeschylus’ Oresteia.

6. 6 Architectural Sculpture The seer – who knows the future … is the only one who reacts East pediment Temple of Zeus, Olympia, 470-456 BCE

7. 7 Architectural Sculpture Labors of Herakles, metope TheTemple of Zeus, Olympia, 470-456 BCE The attitude (more human and emotional) and dress (simple Doric clothing) contrast with the elaborately clothed, always smiling Late Archaic style statues. Contrapposto, the shifting of weight to create counterbalance, was a large step towards the depiction of natural movement. Poses of the Late Archaic period were inspired by Egyptian rigidity and frontality and did not accurately show how real human beings stand.

8. 8 Charioteer from Delphi, ca. 470 BCE

9. 9 Hollow-casting life-size bronze sculpture

10. 10 Sculpture Zeus or Poseidon, ca. 460-450 BCE

11. 11 Classical vs Archaic statuary Riace Warrior, Italy ca. 460-450 BCE. Compare with Kritoi Boy

12. 12 Dr Fisher’s Pictures: ATHENS

13. 13 Roman Copies Made in marble ca. 450 BCE The discus thrower was part of a search for an ideal form. Beauty, Chrysippus feels, resides not in the commensurability (symmetria) of the constituents (i.e. of the body), but in the commensurability of parts, such as the finger to the finger, and of all the fingers to the metacarpus and the wrist (carpus), and of these to the forearm, and of the the forearm to the arm, in fact of everything to everything, as it is written in the Canon of Polyclitus. For having taught us in that treatise all the symmetriae of the body, Polyclitus supported his treatise with a work, having made a statue of a man according to the tenets of his treatise, and having called the statue itself, like the treatise, the Canon.

14. 14 After Polykleitos Doryphos [Roman Copy], Pompeii, 450-440 BCE “Symmetria” He uses dynamic asymmetry rather than static symmetry. Chiastic (cross) balance is motion while at rest. Tense and relaxed limbs oppose each other diagonally (the right leg and the left arm are relaxed, and the left leg and the right arm are tensed).

15. 15 Chrysippus onPolykleitos Beauty, Chrysippus feels, resides not in the commensurability (symmetria) of the constituents (i.e. of the body), but in the commensurability of parts, such as the finger to the finger, and of all the fingers to the metacarpus and the wrist (carpus), and of these to the forearm, and of the forearm to the arm, in fact of everything to everything, as it is written in the Canon of Polyclitus. For having taught us in that treatise all the symmetriae of the body, Polyclitus supported his treatise with a work, having made a statue of a man according to the tenets of his treatise, and having called the statue itself, like the treatise, the Canon.

16. 16 The Classical Period: Pericles Kresilas, Pericles [Roman copy] ca. 429 The “Delian League” – centered in Delos The acropolis is not the fruits of democracy, by of tyranny and abuse of power.

17. 17 The Acropolis -- Athens

18. 18 The Acropolis -- Athens

19. 19 The Parthenon ca. 447-438 BCE The “Ideal” Temple Peripteral colonnade largely standing today. Design the result of blending math & optics. Built according to set proportions.

20. 20 The Parthenon Doric with 2 Ionic elements. The back room had four tall and slender Ionic columns as its sole supports. The inner frieze that ran around the top of the cella wall was Ionic. Irregular elements: The stylobate curves upwards at the center on both the sides and the façade, forming a shallow dome. The curvature of the shallow dome of the stylobate carries up into the entabulature. The peristyle columns lean inward slightly.

21. 21 Parthenon – inside the Cella Reconstruction of Phidias, Athena Parthenos, 438 BCE The Athena Parthenos was a 38-foot tall statue of Athena, made of gold and ivory. She was fully armed with a shield, spear, and helmet, and she held Nike, the winged female personification of Victory. Her sandals and shield bore paintings and reliefs of battles.

22. 22 The Acropolis Lord Elgin: British ambassador to the Ottoman court at Istanbul, dismantled (with permission) many of the Parthenon sculptures and shipped them to England between 1801 and 1803. He sold them to the British government at great financial loss. In modern times accused of “stealing” Greece’s cultural heritage, but also saved them from certain ruin if they had been left at the site. Lapith vs centaur Metope, Parthenon

23. 23 The Acropolis From the east pediment of the Parthenon that depicted the birth of Athena. Helios & his horse Three goddesses. ca. 438-432 BCE

24. 24 The Acropolis -- Parthenon The remains of the east pediment

25. 25 The Acropolis -- Athens A few of the Elgin Marbles at the British Museum [taken by Sally Fowler]

26. 26 The Acropolis -- Parthenon The water-bearers from the Parthenon – now in the Acropolis Museum. Hydria

27. 27 The Acropolis -- Parthenon Festival procession Gods & goddesses

28. 28 The Acropolis -- Parthenon Maidens & elders

29. 29 The Acropolis -- Propylaia Mnesikles, 437-432 BCE The entrance to the temple complex.

30. 30 Erechtheion 421-405 BCE A multiple shrine

31. 31 Erechtheion Better proportioned than the Delphi ones.

32. 32 Temple of Athena Nike Ionic Kallikrates, 427-424 BCE Worked with Iktinos on Parthenon, which may explain Ionic elements in that building. Stands on the site of a former Mycenaean bastion.

33. 33 Temple of Athena Nike Stylistic features: a.Clinging garments reveal curves of the body b.Intricate linear patterns of folds create abstract design c. Deep carving produces pockets of shade to contrast with the polished marble Nike adjusting her sandal, ca. 410 BCE

34. 34 Grave Stele of Hegeso Dipylon Cemetary ca. 400 BCE Same style as the Temple of Athena Nike.

35. 35 Achilles Painter, ca 440 BCE. Polychromy & use of white ground –variation on Red-figure painting

36. 36 Niobid Painter ca. 450 BCE Artemis & Apollo slaying the children of Niobe. [because she boasted to Leto about having more children than Leto]

37. 37 Tomb of the Diver – Paestum, Italy, ca. 480 BCE Possibly symbolizes the plunge from this life into the next.

38. 38 Late Classical Period Praxiteles – Aphrodite of Knidos, Roman copy, orig. 350-340 BCE

39. 39 Late Classical Period Praxiteles: Hermes & the infant Dionysos, 324 BCE

40. 40 Late Classical Period Lysippos, ca 330 BCE He introduced a new canon of proportions, with the head one- eighth the height of the body instead of one-seventh, for a more slender figure. He also began to break down the use of the dominance of the frontal view of sculptures and encouraged viewers to look at the sculptures from multiple angles.

41. 41 Late Classical Period Lysippos, Weary Herakles, ca. 320 BCE

42. 42 Late Classical Period: Architecture

43. 43 Late Classical Period Amphitheatre at Epidauros, ca 350 BCE

44. 44 Tholos, Delphi

45. 45 Late Classical Period The Greeks were slow to adopt Corinthian capitals – used at Delphi & Epidauros only in the interiors of sacred buildings. The main advantage of a Corinthian capital over an Ionic capital was that All four sides have a similar appearance, so corner Corinthian capitals did not have to be modified like Ionic capitals to follow the rule of “triglyphs at the corners of a frieze must meet so that no space is left over.” They also did not require the use of metopes or triglyphs, because an Ionic frieze could be used instead.

46. 46 Didyma Hellenistic Period Begun 331 BCE

47. 47 Hellenistic Period: Priene 4 th cen. BCE

48. 48 The Acropolis – Athens Stoa of Attalos II– ca 150 BCE -- Now used as part of the Acropolis Museum

49. 49 Pergamon-Altar of Zeus ca. 175 BCE

50. 50 Pergamon-Altar of Zeus ca. 175 BCE

51. 51 Epigonis Dying Gaul / Gallic chieftan killing himself & his wife ca. 230-220 BCE [copies of orig. bronzes.]

52. 52 Winged Victory of Samothrace ca. 190 BCE – She’s alighting on a warship.

53. 53 Winged Victory of Samothrace a. The motion created through the beating wings and the wind-swept drapery. b. The theatrical effect created by the statue’s original setting, high atop a fountain that featured water falling down two tiers onto boulders. c. The statue interacted with its environment: it was reflected in the water of the fountain, which caused it to seem light and moving. The sound of the water also provided an aural element. It was not an isolated work on a pedestal. d. Its dynamic pose causes it to appear living, breathing, and emotional.

54. 54 Venus de Milo ca. 150-125 BCE

55. 55 Aphrodite, Eros, Pan from Delos ca 100 BCE Sleeping Satyr, ca. 230-200 BCE

56. 56 Seated Boxer ca. 100-50 BCE

57. 57 Hellenistic Polykeutos, Demosthenes, ca. BCE 280 Old Market Woman ca. 150-100 BCE

58. 58 Laocöon Rome, Early First Century CE. The Trojan priest, Laocöon, and his sons were strangled by sea serpents while they were sacrificing at an altar, a scene told in the Aeneid.

59. 59 Laocöon Great emotion is showed by Laocöon, who seems to give out a huge cry of pain, which is heightened by the writhing forms of the serpents. Even his hair is twisted and active. Motion is created by dynamic poses and every muscle of each figure is tensed with drama.

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