Ancient MediterraneanGreece

Background Info

• 3 periods (studied chronologically, according to style, brought on by change):

-Archaic 600-480 BCE-Classical 480-323 BCE-Hellenistic 323-30 BCE

• Known for idealization and harmonious proportions (Golden Ratio)• Impact on European and American art and architecture. Greek revival

period in Europe in 18th century.• Ancient Greek literature illuminate our understanding of Greek culture

and art—early account of artists and writers (epics are foundation of Greek writing). Oral traditions eventually written down.

Background Info Continued

• Aegean society collapses for unknown reasons around 1100 BCE and reorganized around 900 BCE as small, competing city-states united only in language and fear out invasion.

• Persian invasion was neutralized when all states rallied together in 480 BCE, destroying Athens in the process.

• Return to fighting led worst internal struggle in Peloponnesian War in which Sparta defeated Athens, after which disunity continued.

• Alexander the Great united Greece under one ruler in the 4th century BCE. After his death, Greece once again fell apart, and was eventually absorbed by Rome.

Greek Sculpture

3 ways Greek sculpture is different than preceding cultures:

1. Unafraid of nudity—glorified the perception of the ideal human form. Mostly male nudity; towards end of Greek civilization some female nudity.

2. Free-standing stone sculpture and large-scale bronze sculpture.

3. Contrapposto-”S” curve shows relaxation and movement of the human form; fluid and natural form of body.

Archaic Greek Sculpture

• Surviving works limited to grave monuments and temple figures.

• Kouros and Kore-Archaic Greek youths. Frontal and upright with square shoulders, knotted hair, and curlicue ears; free standing; one foot forward; archaic smile.

• Marble is primary medium.

• Sculpture is painted.

• Backgrounds are often red.

• Metallic accessories (thunderbolt, harp, etc..)

• Bronze is hollow—lost wax technique (cire perdue)

• Eyes inlaid with stone or glass; lips, nipples, and teeth sometimes made of copper or highlighted with silver.

27. Anavysos KourosArchaic Greekc. 530 B.C.E.Marble of remnants of paint

• Grave marker that replaces large vases

• Not a real portrait, but rather an idealized representation of a warrior

• Named after Kroisos, a young military hero—noted at base

• Rigid, frontal, nude, freestanding; hair neatly knotted and then braided down back, eyes open and wide

• Influence from Egypt are evident (style and forward stride)

• Evidence of paint

• Archaic smile-provide life to mask-like face

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28. Peplos Kore from the AcropolisArchaic Greekc. 530 B.C.E.Marble, painted details

• Broken hand probably means she was fitted with an attribute. Goddess? The hand emerges into space, breaking the mold of archaic statue style.

• Tightened waist, breasts revealed beneath drapery, rounded and naturalistic face, hair falls in a naturalistic manner across shoulders.

• Peplos-the name of her garment

• Paint remains

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Classical Greek Sculpture

• Use of contrapposto• Idealized, heroic forms established

by Polykleitos—sculptor who created canon of proportions. Head should be 1/7 of body, favored musculature alternating between stressed and relaxed.

• Peloponnesian War ended Classical style in favor of more humanistic perspective of the body and expressions (heads are 1/8 of body and exaggerated “S”-curve. This would eventually lead into Hellenistic style.

34. Doryphoros (Spear Bearer)Polykleitos450-440 B.C.E.Roman copy (marble) of Greek original (bronze)

• Alternating elements of tension and relaxation.

• Restrained movement with solid, block-like appearance.

• Broad shoulders, thick torso, muscular body, averted gaze—Spartan ideal

• Warrior and athlete who once held a spear (found in Pompeii, a center for athletic training)

• Many Greek works we look at today are Roman copies of Greek originals. Greek originals in bronze were typically later melted down and used for weapons.

• Romans valued Greek culture—arts, leisure, and learning.

• Became popular when Romans began to invade Greece in 211 B.C.E. The Spear Bearer was one of the most popular, and widely copied sculptures.

• Many Roman copies were buried and sustained damaged over centuries.

• This sculpture was found in Pompeii and abides by the canon of proportions established for the ideal human in Greek culture.

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Beauty by the Numbers

• What does an ideal human look like physically?

• Greeks derived their perfect proportions from the Egyptians in what they called the Golden Ratio.

• Divide your height by the distance from your toe to your belly button.

• The closer you are to 1.618, the more ideal your form, according to the Greeks.

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36. Grave stele of HegesoAttributed to Kallimachosc. 410 B.C.E. Marble and paint

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• In Archaic period Kouroi were used to mark graves, in the classical period stelae, like this, are used.

• Erected in Dipylon cemetery in Athens.• Commemorates the death of Hegesos; inscription identifies her

and her father.• Genre Scene: woman examining a piece of jewelry from a

jewelry box handed to her by a servant; represents dowry?• Jewelry painted in—not visible.

Hellenistic Greek Sculpture

• Shows wider range of movement and emotion.

• Themes untouched by Classical Greek art appear in Hellenistic art—childhood, old age, despair, anger, and drunkenness.

• Viewer is intended to walk around the Hellenistic sculpture—not intended to be placed on a wall.

• Influenced by warfare between Greeks and Romans.

37. Winged Victory of SamothraceHellenistic Greecec. 190 B.C.E.Marble and paint

• Nike is symbol of victory.

• Probably commemorated a naval victory. The boat at the base is a battleship with oar boxes, and traces of a ram.

• Originally stood above a sanctuary in Samothrace. Meant to be placed above or in a fountain of cascading water around rocks below. Found in situ.

• Wet drapery imitates water on wet body.

• Dramatic Contrapposto twist.

• Missing right arm may have held a raised arm with a crown in an open hand gesture—perhaps landing on the prow of a ship.

• The best examples of Hellenistic art come from the Kingdom of Pergamon (Turkey).

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41. Seated BoxerHellenistic Greekc. 100 B.C.E.Bronze

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• Rare Hellenistic bronze.• Part of a group? Or single sculpture with head turned to face

an opponent?• Depicts older man, nude, defeated; smashed nose, lips sunken in to

suggest broken teeth, cauliflower ears, hands wrapped in bandages

• Copper used to highlight lips, nipples, and straps, wounds.• Toes worn away from touching. Good luck charm?

Laocoon displeased Apollo by sleeping with hiswife and sent two sea serpents which aredragging Laocoon down into the sea.

Another story says that Laocoon and his sons werekilled because they attempted to expose the planof the Trojan Horse by striking it with a spear.

Greek Pottery and Painting

• Much of what we know of Greek painting comes from Greek pottery.

• Mural painting almost totally gone.

• Professional pottery practices through the ages.

• Some vessels (kraters-bowl for mixing water and wine) are for everyday use, some are grave markers.

• Massive grave markers have holes at bottom so that liquid can pour over the grave itself. These often have scenes of the deceased lying on a bier, surrounded by mourners. Chariots and warriors complete the procession.

• Form follows function.

• Amphora (two handled vessel) would hold things like oil or wine with an opening large enough for a ladle.

• A wide range of inscriptions could greet the viewer or tell the narrative on the pot. The underside would usually indicate the transaction for the acquisition of the pot.

• Black figure-executed in Archaic period.

• Red-figure-present towards end of Archaic period and beyond.

• Stylistically painting and pottery follows sculpture of the Greek periods.

33. Niobides Krater

Anonymous AKA Niobid Painter

c. 460-450 B.C.E.

Clay

Red-figure technique

Video in notes

• Found in Orvieto, Italy• Called Niobid Krater because one side depicts the killing of Niobid’s children. She bragged about fertility of her children to

god Leto (only had two children). Leto’s children (Apollo and Artemis) shown seeking revenge, killing the 12 children of Niobid.

• On the other side we aren’t 100% on story: 1-Hercules surrounded by heroes in arms and Athena. 2-Warriors of Marathonplace themselves under the protection of Hercules.

• We see iscocephalism (heads on same level) for the first time in vase painting being jettisoned. Influence of wall paintings?

40. Alexander Mosaic from the House of the Faunc. 310 BCE (Roman copy c.100 BCE)Mosaic

• Alexander-young, brave, assured

• Darius in center right on chariot-horrified, weak

• Crowded and chaotic; complex interweaving of characters

• On a Roman floor mosaic based on a Greek painting (original)

• Found at Pompeii

Greek Architecture

• Temples are earthly homes for gods and limited public access to the deity. Deities were represented in large statues. Worship took place at a smaller temple near the main temple structure.

• Front and back of Greek temples are nearly identical.

• 3 types of temples: Doric, Ionic, Corinthian

• Doric-fluted shaft with out a base. Unadorned architrave with alternating triglyphs and metopes (depicted scenes from Greek mythology). Doric style often found on mainland Greece.

• Ionic style popular in the islands of Greece included volute capitals, columns that sit on a base, and friezes within the entablature.

• Corinthian order introduced later with acanthus leaves on the capitals and straight columns that transitioned into the base.

• In some cases, the orders are mixed, as in the case of the Parthenon, which is a Doric temple with an Ionic frieze on the interior of the temple.

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Greek Architecture continued…

• Temples are placed on high hills, or an acropolis, over looking the city.

• Gateways called propylaea prepared the visitor for entrance into the complex.

• Greek temples show reliance from the past with the exception of two new forms: tholos (circular shrine) and caryatids (columns shaped as humans). With the exception of the tholos shrines, temples are rectangular, constructed using post and lintel, and organized on geometric principles (Golden Ratio).

• Peristyle columns completely surround the inner core of the temples. Pedimentsproject over the temples and also hold sculpture depicting the heroic life of the deity inside. The cornice separates the upper and lower portion of a Greek temple.

• Doors are set back from the façade, increasing the mystery about the interior.

• Other than temples Greeks built shopping centers and theaters. Greek theaters are an architectural marvel, sitting in the open air in a crowd of up to 12,000 and 55 rows back, one can hear every word spoken.

35. Athenian agora600-150 BCEAthens, Greece

• Plaza at the base of the Acropolis in Athens that contained commercial, religious, and social buildings.

• Ceremonies took place here including the Panathenaic Festival as well as parades to honor Athena in a diagonal through the plaza.

• Surrounded by important buildings such as: bouleuterion (council of citizens), tholos (manned by senators 24 hours a day for emergency meetings), stoas (covered walkways

35. AcropolisAthens, GreeceIktinos and Kallikratesc. 447-410 B.C.E.Marble

*Parthenon*Acropolis plan

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• Constructed under Pericles after Persian sack of Athens in 480 BCE. Using extra funds from Persian war treasury, angering Greek allies.

• Greek preference for mathematics expressed in the Golden Ratio using x=2y+1 leading to 17 columns on side (x) and 8 on the front (y) and the ratio of the length to width being 9:4. Proportions for the cella are the same.

• Two windows inside cella to light interior.

• Floor curves up in center to drain rain water and deflect appearance of sagging ends.

• Columns at ends are surrounded by light, altering their appearance, therefore made thicker to look the same as the others.

• Temple exterior is Doric, but interior features include Ionic columns and frieze.

• Interior had massive state of Athena made of wood on interior, covered in ivory and gold.

*Helios, horses, and Dionysus (Heracles?)

35. Helios, Horses, and Dionysosc. 438-432 BCEmarble

• Sculptures from the Parthenon, also called the Elgin marbles.

• From east pediment.

• Shows the birth of Athena from the head of Zeus, and other deities watching.

• Two seated goddesses are Demeter and Persephone.

• Classical Greek style using contrapposto.

35. Plaque of the Ergastinesc. 438-432 BCEmarble

• Scene from Panathenaic Frieze depicting Panathenaic Procession (held every four years to honor Athena)

• Procession begins at Dipylon Gate, passed through the agora, and ended at Parthenon. Athenians places a new peplos on the statue.

• Six Ergastines (women who wove the peplos) are greeted by two priests.

• Isocephalism: tradition of depicting heads on same level.

• Alternate theory: not Panathenaic Procession but story of legendary Athenian king, Erechtheus, who scarified one of his daughters to save Athens, told to do so by the Oracle of Delphi.

• First time in Greek art showing a human event on a temple.

Iris, from the west pediment of the Parthenon, c. 438-432 B.C.E., marble, 135 cm high, Athens, Greece © Trustees of the British Museum

Marble metope from the Parthenon, c. 447-438 B.C.E., 172 cm tall, Acropolis, Athens © Trustees of the British Museum

The sculpted decoration of the Parthenon included ninety-two metopes showing scenes of mythical battle.

The pediment sculptures (carved in the round) filled the triangular gables at each end.

Horsemen from the west frieze of the Parthenon, c. 438-432 B.C.E., 100cm tall, Acropolis, Athens © Trustees of the British Museum

The horsemen have been moving at some speed, but are now reining back so as not to appear to ride off the edge of the frieze.

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Figures of three goddesses from the east pediment of the Parthenon,c. 438-432 B.C.E., 233 cm long, Acropolis, Athens © Trustees of the British Museum

The east pediment of the Parthenon showed the birth of goddess Athena from the head of her father Zeus.

35. Temple of Athena Nike Kallikrates425 BCEAthens, Greecemarble

• Amphiprostyle: temple with four columns in the front and four in the back.

• Built to commemorate the Greek victory over the Persians in the Battleof Marathon.

• Many images of victory on temple.

35. Victory Adjusting Her Sandal, from the Temple of Athena Nikec. 410 BCEAthens, Greecemarble

• Winged Nike modeled in high relief.

• Deeply incised drapery lines reveal body and wet drapery.

• Ionic columns

• Frieze is sculpted in high relief; 7 ½ feet in height wrapping 400 feet around the monument.

• Hellenistic work seeks balance through the use of diagonals, whereas Classical Greek sculpture finds balance through the use of vertical and horizontal lines.

• Some of the figure here crawl out beyond the architectural space.

• Hellenistic art gives way to heightened forms of expression.Video in notes

38. Great Altar of Zeus and Athena at PergamonAsia Minor (Present day Turkey)Hellenistic Greekc. 175 B.C.E.Marble

38. Great Altar of Zeus and Athena at PergamonAsia Minor (Present day Turkey)Hellenistic Greekc. 175 B.C.E.Marble

• Gigantomachy-mythical war between Greek gods and giants.• The giants, who are helpless, are being dragged up the stairs to worship the

gods. • Gods victory over the giants parallels Alexander the Great’s victory over the

Persians.• Deeply carved, overlapping figures; intense, heroic musculature• Athena grabs Alkyoneos by the hair and drags him up the stairs to worship Zeus.• Nike crowns Athena in victory/• Gaia: earth goddess, looks on in horror, pleading for the fate of her sons (giants).

Style Sheet

Archaic Classical Hellenistic

Historical Narrative Analysis-Part #1

Homework TONIGHT: Think of a story from contemporary or ancient history. ANY STORY. Research the general story line, take notes if you need to. Come back with your information for tomorrow.

Historical Narrative Analysis-Part #2 and #3

• Construct a visual narrative using simple drawings and simples to tell the story you researched last night.

• Write an analysis of your drawn narrative. Identify which aspects of your story you included, how, and why they are represented. Which aspects are left out and why? How does the form and content of the visual narrative relate to your artistic intent?

Short Essay

The Meaning of Classical: Persuasive Essay

• Think about the following styles: Greek Archaic, Classical, and Hellenistic, Roman Republican, early and late imperial. We call this era of history the classical past.

• What is meant by the word “classical”? How does this term relate to ideals that change over time. What does this word tell us about the past and our present?

• Be sure to cite specific examples of art.