Ancient GreeceInstructor: Mrs. Christine Ege

Introduction to Art – DAD Department

25th March 2015

The Greek City States• After the Cycladic States declined

other Greek City States began taking control of the Aegean Sea

• This group of city states created their own forms of governance (democracy), philosophy, and arts

• The most important of these city states were:• Iona• Sparta• Athens• Macedonia

• The importance of these city states lasted until the Macedonian Kings conquered the area and united it under one crown

• Due to the trade routs throughout the Aegean the Greek City states became a melting pot of cultures and ideas

Pottery

Geometric KraterGreece, Athens (Dipylon cemetery), (ca. 740 BCE)3 feet 4 ½ inches highMetropolitan Museum of Art, New York City, USA

Early Grecian Pottery• These kraters were used a grave markers

• The decorations are arranged in horizontal bands

• The motifs in these bands are highly abstracted and are found throughout the later periods of Greek pottery

• The meander is very prominent in these types of kraters

• What is important about these early types of pottery is the amount of detail put into the decorations

• Very detailed lines are used to create the images of people (see the top middle band) and animals (see the bottom middle band)

• This very distinctive style is the beginning of what we know as Greek Black-Figure painting

Corinthian Black-Figure Amphora with Animal FriezesGreece, Rhodes, (ca. 625 – 600 BCE)1 foot 2 inches highBritish Museum, London, UK

The Beginning of Black – Figure Painting• Pottery was an important aspect of Greek culture

• Large workshops of potters were common in Ancient Greece

• During Ancient Greece potters were considered to be as important to the development of art as architects, sculptors, and general painters

• As the styles of pottery painting developed the forms of Black-Figure painting became very popular

• Black-Figure potters is characterized by a neutral colored background with horizontal bands of images placed in a black (or dark colored) paint to create a contrast between the images and the background

• As this style developed painters adjusted this concept to create reverse images (called bilingual painting) these two forms are seen throughout Greek pottery

Kleitias and Ergotimos (Francois Vase)Italy, Chiusi, (ca. 570)2 feet 2 inches highMuseo Archeologico, Florence, Italy

Achilles and Ajax Playing a Dice Game (Bilingual Amphora)Andokides Painter (Greek, ca. 525 – 520)1 foot 9 inches highMuseum of Fine Arts, Boston, USA

The Height of Bilingual Painting• Bilingual painting is said to have been created by

the painter Andokides in around 530 BCE

• Bilingual painting takes the normal techniques used in the creation of Black-Figure paintings and reverses their contrast• Black on Neutral• Neutral on Black

• These styles are place on opposite sides of a piece of pottery creating an interesting contrast

• Achilles and Ajax Playing a Dice Game is probably the most famous of all Black-Figure (Bilingual) Amphora

• The same scene is shown on either side of the amphora

• One side is a neutral color on a black background

• The other side is a black color on a neutral background (see the image to the right)

Herakles Wrestling Antaios (Athenian red-figure calyx krater)Euphronios (Greek, ca. 510 BCE)1 foot 7 inchesLouvre, Paris, France

The Influence of Figure Painting on Later Civilizations• The development of early Figure

painting on pottery influenced the way that images of people were created in later Greek city states

• Greek pottery painters began rejecting the composite forms of human representation

• Although this meant that human forms were harder to distinguish it gave the forms a more realistic representation

• If we look for instance at the wrestling figures in Herakles Wrestling Antaios (see the image to the right) the images are put into a position that is meant to represent the reality of wrestling, and not to merely represent the most important parts of the human form

Warrior Taking Leave of His Wife (white-ground lekythos)Achilles Painter (Greek, ca. 440 BCE)1 foot 5 inches highNational Archaeological Museum, Athens, Greece

Later Vase Painting• A later version of pottery painting that became very popular

in Ancient Greece was that of white-ground pottery

• These images were painted on a white background and were often quite colorful (although the colors have faded over time)

• The potter would apply a white slip of clay, then add black glaze to the top and bottom of the ceramic piece, he would then paint the images he liked on the white skip part, and then fire the ceramic piece

• These white-ground paintings show a connection between vase painting and wall painting

• The images are often very detailed and usually show narrative scenes

• These works were highly prized by the Grecian elite and show us the things which were important to the upper classes of Ancient Greece

Wall Paintings

Hades Abducting PersephoneGreece, Vergina (ca. mid fourth century BCE)3 feet 3 ½ inches high

Greek Mythology in Wall Paintings• Many of the wall paintings found throughout

Greece contain images relating to Greek Mythology and history

• The Ancient Greeks were very concerned with their connection to their gods, and how the gods shaped their culture and history

• They used very detailed images of their gods as ways of expressing them here on earth

• The Greeks believed that if an image looked like a god that it was the real god

• Through these life like depictions of the gods the Greeks felt that they could communicate on a daily basis with the gods that they worshiped

Youth DivingItaly, Paestum (Tomb of the Diver), (ca. 480 BCE)3 feet 4 inches hichMuseo Archeologico Nazionale, Paestum

Roman Copies of Greek Paintings• In this wall painting we can see

the influence of white-ground pottery paintings

• This style of white background with thin lined, detailed images continued well past the Ancient Greeks

• These forms were admired by later civilizations such as the Romans and Byzantines

• The Romans and Byzantines copied the Greek styles of wall paintings and used then as decorations for tombs

• Later Christians (in the Roman Empire) used this same style as a way to depict their religion underground in their secret churches

Battle of Issus (Roman Copy, ca. 310 BCE)Philoxenos of EretriaTessera Mosaic8 feet 10 inches x 16 feet 9 inchesMuseo Archeologico Nazionale, Naples

Stag HuntGnosis (Greece, ca. 300 BCE)Mosaic10 feet 2 inches highArchaeological Museum, Pella, Greece

The Rule of Alexander the Great• In the later Greek eras wall paintings

were used as a form of propaganda

• The Macedonians were the first peoples of Ancient Greece to use painting as a form of propaganda

• These paintings, and mosaics, always show Alexander the Great (or other rulers of Macedonia) doing heroic things such as:• Hunting (see the image to the right)• Conquering peoples• Giving rule and order to peoples they

have conquered

Architecture

Temple Plans• The most important of all Greek

buildings were those of the temples

• Greek temples were normally created with the same plans

• Although their design changed over time the overall structure of temples stayed relatively the same

• The center of the temple contains a Cella and a Pronaos (where the main statue of the god / goddess is housed or worshiped)

• Surrounding the inner sanctuary is a portico (an open air area that has columns, much like a porch)

• In the outside area commoners would gather to witness ceremonies, as only priests and priestesses were allowed in the inner sanctuary

Temple of Hera I BasilicaItaly, Paestum, ca. 550 BCE

The Temples of Hera• The temples of Hera are a good

examples of early developments in Greek architecture

• Through the use of advanced mathematics the ancient Greeks were able to create large scale temple constructions

• One of the most important developments can be seen in the Greek column

• If we look at the temple of Hera from the side (see the image to the right) we can see that the columns look like thy are bulging in the middle

• This is meant to make the building look straight when looked at head on

• It makes the building look straight and not like it is falling over.

• This is done with an illusion of the eye, that also helps maintain the structural integrity of the building

Temple of Hera II BasilicaItaly, Paestum, ca. 460 BCE

The Doric and Ionic Orders• In ancient Greece there

were two main forms of columns

• Doric• Rests on the stylobate• Vertical flutes• Cushion shaped capital• Rectangular abacus• Early Aegean and Greek

city states

• Ionic• Rests on the stylobate• Vertical flutes• Spiral shaped capital• Rhombus shped abacus• Athens

Parthenon (Temple of Athena)Iktinos and Kallikrates (Greek, ca. 447 – 438)

The Acropolis and Parthenon• Considered the height of Greek

architectural achievement

• Commissioned by the Athenian politician Pericles

• He used the money gained during Athens many wars to help pay for the construction of the Acropolis

• The main temple on the Acropolis is that of the Parthenon, the main temple to the goddess Athena (see image to the right)

• Was a giant temple with elaborate friezes and a monumental gold statue of the goddess Athena

• The construction of the Parthenon was controversial at the time, as many other Greek politicians through Pericles was trying to make Athens look grander than it actually was

Temple of Athena NikeKallikratesGreece, Athens (Acropolis), (ca. 427 – 424 BCE)

Representing Gods and Goddesses in Architecture• This temple is one of the first

examples we have of Ionic columns on the Acropolis

• Although the temple is very tiny it is highly decorated and was considered one of the most beautiful temples in Ancient Greece

• Was designed by the architect Kallikrates, who was one of the main developers of the ionic order

• The friezes on the temples parapet commemorate the Athenian victory over the Persians and are shown in a narrative relief style that was favored by Greeks at this time

The Temple of ApolloTurkey, Didyma, begun ca. 313 BCE

The Temple of Apollo • Located in Didyma, Turkey

• Is one of the largest temple complexes in Ancient Greece

• Took over 500 years to complete in full

• Is considered one of the greatest Hellenistic temples of all Greece

• The architects of the temple began breaking with the earlier traditions of temple layout and design

• Although the inner sanctuary stayed relatively the same the colonnade and public space was made much larger

• This new design opened up Greek religion to the masses (rich) and made them feel more connected to the gods they were worshiping

Theater at EpidaurosPolycleitus the Younger (Greek, ca 350 BCE)

The Greek Theatre• Theatre was an important part of

Greek culture and medicinal practices

• Theatres were therefore very important structures

• They are not only amazing examples of architecture and engineering, but also scientific planning

• The Theater of Epidauros is 387 feet in diameter and seated around 12,000 people

• The size of this theater shows us that the Greeks had to have a good understanding of engineering for sound resonance

• Greek theatres are known for the ability of every spectator to hear the actors clearly

• This was done through the arch of the theatre, as well as resonance catchers

Stoa of Attalos IIGreece, Athens (Agora) (ca. 150 BCE)

The Origins of Commercial Architecture• It is during Ancient Greece that we

see the development of architecture for commercial purposes

• Developed during the late Hellenistic periods

• Created city centers called agoras

• Surrounding these agoras were stoas, or large covered buildings filled with shops and offices (see image to the right)

• These buildings were usually less decorated than the temples, and were highly utilitarian

• These same buildings were the inspiration for everything from the Roman Forum to the modern day mall

Reconstructed West Front of the Alter of ZeusTurkey, Pergamon, ca. 175 BCEStaatliche Museen, Berlin, Germany

Monumental Greek Architecture Outside of Greece• One of the greatest Greek

constructions found in Anatolia is that of the Pergamon

• In the Pergamon there is the Alter of Zeus

• This is a mixture of architecture and sculpture

• The friezes one the outside of the alter are larger than life size and are very detailed an imposing

• The subject of the friezes discusses the battle of Zeus and the other Gods, against the giants (Titans) for control of the worlds

• This is part of the Greek origin story and its depiction would have been very important to Greeks at the time

Sculpture

Mantiklos ApolloGreece, Thebes, ca. 700 – 680 BCEBronze8 inches highMuseum of Fine Arts, Boston, USA

Bronze Age Greek Sculptures• The earliest forms of Greek sculpture are bronze

• Votive statuette of Apollo

• Marks of attachment on the top of the head, forehead, left hand

• This shows us that the image might have been a warrior figure that was holding a spear and wearing a helmet

• On the legs is inscribed this sentence:• “Mantiklos donated me as a tithe to the far

shooter, the bearer of the Silver Bow. You, Phoebus (Apollo) give something pleasing in return.”

Hero and Centaur (Herakles and Nessos?)Greece, Olympia, ca. 750 – 730 BCE)Bronze4 ½ inches highMetropolitan Museum of Art, New York City, USA

Bronze Age Depiction of the Gods• This statue shows us that images of the gods, and

depicting mythical stories, was important to the Greeks starting earlier that previously thought

• There is a naked man (possibly Heracles) shown in combat with a centaur

• Both Heracles and Centaurs are important parts of the Greek mythical traditions

• We can see in these sculptures a struggle to find a way to take an oral tradition and make it visual

• This becomes very clear when we look at the body of the Centaur

• The connection between the human part of the body and the animal part of the body is very crude but still expresses the meaning

Lady of AuxerreGreece, ca. 650 – 625 BCELimestone2 feet 1 ½ inches highLouvre, Paris, France

The Kore (Korai)• Free-standing ancient Greek sculpture

• Young female figures

• Carved with thick drapery, and have elaborate hair styles

• Often painted

• Relaxed, Natural posture

• Believed to be representations of the goddess Persephone

• Found in many Greek city states

• The most famous come from Athens

The Kouros (Kouroi)• Male equivalent of the Kore

• Restrained smile

• Kouroi are always nude

KourosGreece, ca 600 BCEMarble6 feet ½ inches highMetropolitan Museum of Art, New York City, USA

Calf BearerGreece, Athens, ca. 560 BCEMarble5 feet 5 inches highAcropolis Museum, Athens, Greece

The Calf Bearer

• Many Kouroi follow the ancient Egyptian traditions of sculpture

• As time went on the Greeks started transforming the Kouroi into their own style

• The Moschophoros (Calf Bearer) was found in the Athenian Acropolis

• Shows Rhonbos offering a calf to the goddess Athena

• Although the left foot is forward (Egyptian) and he is nude (Greek) there are many differences in his style• Beard (shows not young)• Thin cloak (drapery)• Structure (arms not down)• Uniting of man and animal (X)

Dying Warrior (from the west pediment; top, and from the east pediment; bottom)Greece, Aegina (Aphaia), (ca. 490 BCE) top: 5 feet 2 ½ inches longbottom: 6 feet 1 inch longGlyptothek, Munich

The Temple of Aphaia in Aegina• The pediments are dedicated to

Athena

• Pediments are the triangular upper roof parts of temples

• Groups of warriors lay dying in protection of the goddess Athena

• These warriors lay in positions that allow them to fit nicely into the corners of the triangular pediments

• Depictions of the warriors Hercules and Agamemnon

• Later influences on Neoclassicism in Europe

East Pediment from the Temple of ZeusGreece, Olympia, ca. 470 – 456 BCEMarble87 feet wide.Archaeological Museum, Olympia

Making Statues Part of the Architecture• The Ancient Greeks were experts at putting sculpture into

their architecture

• Most temples in Ancient Greece were lined (around the top) with sculptures depicting historical scenes or mythological scenes

• These sculptures were either engraved or were in the round (same as the image above)

Kritos BoyGreece, Athens (the Acropolis), (ca. 480 BCE)Marble3 feet 10 inches highAcropolis Museum, Athens, Greece

Kritos Boy (Kritian Boy)• Belongs to the early classical period of Greek

sculpture

• First statue known to use contraposto

• Attributed to the sculptor Kritios

• Smaller than life size

• The first example of sculptors trying to mimic exactly the human form

• They were looking for perfection

• They were examining how different parts of the body act together to make the whole

• They were looking bellow the skin to see the function of the human form

Doryphoros (Spear Bearer)Polykleitos, ca. 450 – 440 BCERoman marble copy6 feet 11 iches highMuseo Archeologico Nazionale, Naples

The Importance of Polykleitos• Renowned Greek Sculptor

• Wrote the Kanon (Canon)

• The Kanon explained the way to produce the perfect body form (especially for males)

• Known as the best sculptor of men

• Mathematical proportions of the human form

• Balance between muscular tensions and relaxation due to the chiastic principle that he relied on

• Doryphoros is seen as one of this best works when using this mathematical style

• This style allowed all Greek sculptures to look different while still looking relatively the same

Weary Herakles (Farnese Herakles)Lysippos (Greek, ca 320 BCE)Roman Marble copy of a Greek Bronze Original10 feet 5 inches highMuseo Archeologico Nazionale, Naples, Italy

Overly Realistic Human Forms• Copied many times in the ancient

world

• Found in the Baths of Caracalla in Rome

• Liked by both the Greeks and the Romans as a depiction of the strength of men and the strength of the nation

• We can see the Greek need for exaggeration in this statue

• Although Hercules was a mythical figure, he was also a human / god, but the Greeks had no desire to make him look real

Athena Battling AlkyoneosGreece, Gigantomachy Frieze, Pergamon, Turkey, ca. 175 BCEMarble7 feet 6 inches highStaatliche Museen, Berlin, Germany

Beginnings of the Hellenistic Era• Dating from the death of Alexander

the Great in 323 BCE to the emergence of Ancient Rome

• A number of the best-known works of Greek sculpture belong to this period

• Decadent style

• Golden Age of classical Athens

• This period is categorized by its use of musculature in males and draper in females

• An inspiration for later styles• Baroque• Rococo

Gallic Chieftain Killing Himself and His WifeEpigonos (Greece, ca. 230 – 220)Roman marble copy of a Greek bronze original6 feet 11 inches highMeuseo Nazionale Romano – Plazzo Altemps, Rome, Italy

Hyper-Realism• Comes from a group of sculptures created to

commemorate the victory of the Greeks over the Gauls

• There are no surviving Greek bronze versions, only roman marble copies

• The composition of the images in these sculptures shows us the many developments made by the sculptors of ancient Greece

• The legs of the man are used as anchor points for the sculpture, while the image of the woman is used as a type of tripod to sturdy the figure

• The twisting image of both figures shows a clear understanding of the human form and how to make it look realistic

Dying GaulEpigonos (Greek, ca. 230 – 220 BCE)Roman marble copy of a bronze Greek original3 feet ½ inch highMuseo Capitoliono, Rome, Italy

Nike of SamothraceGreece, Samothrace, ca. 190 BCEMarble8 feet 1 inch highLouvre, Paris, France

Nike of Samothrace• Created to honor the goddess Nike and a sea

battle that she was involved in

• Movement

• Emotion

• Drapery

• Originally stood in a temple where it was placed on a pedestal that was shaped like a ship

• Her arms have never been recovered but it is believed that the right arm was raised in a gesture of leading her troops into battle

• She depicts a triumphant spirit

• This is even more noticeable because her head is missing

Venus de MiloAlexandros of Antioch-on-the-Meander (Greek, ca. 150 – 125 BCE)Marble6 feet 7 inches highLouvre, Paris, France

The Venus de Milo• Depicts Aphrodite (goddess of love and beauty)

• Alexandros of Antioch

• Her arms were lost after her discovery

• Shows the use of drapery in the intermittent stage before Hellenism

• Her body form is based off of the very rigid system of mathematics

• Although the statue is very well done its true fame is due to a French campaign to describe it as the greatest Greek statue of all time

• Named after the Greek island Milos (where it was discovered)

Seated BoxerGreece, ca 100 – 50 BCEBronze4 feet 2 inches highMuseo Nazionale Romano – Plazzo Massiomo alle Terme, Rome, Italy

The Evolution of Bronze Sculpture• Expresses the importance of athleticism in Ancient

Greece

• The amount of detail in the way the body is formed shows us that they were not looking for glamor, but to show the boxer as he was• Top heavy• Bruised face• Broken nose• Missing teeth• Cauliflower ears

• One of the only original bronze Greek sculptures which has been found in Italy

• Archaeologists believe that this sculpture (and the other one found with it) were deliberately buried during antiquity

• They are not sure why

Laocooen and His SonsAthanadoros, Hagesandros, and Polydoros of Rhodes (Greek, ca.100 BCE)Marble7 feet 10 ½ inches highMusei Vaticani, Rome, Italy

Laocoön and His Sons• One of the most famous ancient sculptures

ever

• Hellenistic tradition

• Shows the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by a sea serpent

• Very famous for its ability to show the distress and plight of the humans depicted through their facial features and body positions

• Human agony

• This sculpture, much like those of the Winged Victory, and the Venus di Milo, has been copied over and over again

VOCABULARY

• Kraters

• Meander

• Black-Figure

• Bilingual

• Composite forms

• Cella

• Pronaos

• Portico

• Titans

• Stylobate

• Abacus

• White-ground

• Slip

• Glaze

• Ceramics

• Parapet

• Hellenistic

• Agoras

• Stoas

• Utilitarian

• Flutes

• Capital