ART 381 HANDOUT 4.1: LATE CLASSICAL ART AND ARCHITECTURE

Late Classical: the period ca. 400-323 BCE. Politically this age saw the decline of the individual poleis, and the rise of the northern semi-Greek kingdom of Macedon, which took over all of Greece in 338 BC. Intellectually, the Late Classical age saw the rise of developed systems of philosophy in Athens, particularly those of Plato and Aristotle, but also the rise of Rhetoric, or persuasive argumentation,. The last is particularly associated with the practical philosopher Isokrates (who advocated that the Greek cities unite and attack Persia), but its greatest political practitioner was the Athenian politician Demosthenes. The Rich Style in sculpture and painting continued until c. 375 BCE in art, but the period c. 375-323 was characterized by heavier drapery, a new interaction of cloth and anatomy, new pose-types (especially leaning and more threedimensional ones), and by the development of new secular and purely artistic types of art. Emotion also re-emerges. Religious architecture shows greater variation than previous temples II. Historical figures. Philip II: King of Macedon 358-336 BCE Built up the Macedonian army, and conquered all of Greece by 337. Was preparing to attack the Persian Empire when assassinated in 336. Alexander the Great: succeeded his father Philip in 336. In 334 invaded the Persian Empire, by his death in 323 had conquered the Near East as far as the borders of India. His conquests began the Hellenistic Age, and his policy of employing court artists was followed by the Hellenistic kings. III. Painting. South Italian vase painting: arose after 440, and lasted until ca. 300. Artists there used two techniques, red-figure and overpainting (the colors are painted on top of the black slip or gloss). The Apulian ornate style can be seen in the Darius Painter’s “Darius Receives the News of Marathon” of 330. The vases, especially the later ones, tend to be florid, but preserve hints of contemporary monumental painting and show us scenes of the contemporary theatre (see the work of the Paestan painter Assteas, such a “Robbing the Miser”). Tomb of Persephone, Vergina: a chamber tomb of c. 340 with a scene of the Rape of Persephone by Hades on its interior. This has dynamic and 3-D poses, strong emotion (Persephone and her attendant), and shading. Since it is in a royal tomb, presumably it was the work of a gifted artist. IV. Sculptors and Sculpture Attic Grave reliefs: the classical series of grave reliefs begins around 430 and continued down to 317 or 310., when their production was outlawed. They are valuable because they mirror contemporary developments in sculpture in the round (such as the Polykleitan Chairedemos of ca. 420), and they show us something of funerary beliefs. Some of them (Dexileos stele, 394) are fine works of sculpture in their own right. Other relief sculpture, such as record and votive reliefs, show the same stylistic development. Kephisodotos the Elder: Athenian sculptor who made a group of Eirene and the Infant Ploutos (Mother Peace holding the infant Wealth) around 370 for the Athenian Agora. It survives in

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Roman copies, and shows a new interest in the depiction of realistic drapery, as well as a natural interaction between the woman and child. Generally considered to be Praxiteles' father or uncle. Praxiteles: Athenian sculptor of the second and thrid quarters of the fourth century, known for his graceful leaning figures. Unfortunately, these are only preserved in Roman copies (Apollo Sauroktonos-the lizard Slayer, ca. 350, Hermes and the Infant Dionysos, original c. 340???). His most famous statue was the nude Aphrodite of the Knidians (c. 360). The closest contemporary reflection of his style is the small bronze Marathon Boy of c. 340-325; this likely was made by one of his students or circle. Praxiteles' work heavily influenced Hellenistic sculpture of women, both nude and draped. Skopas: sculptor from Paros, also the architect of the Temple of Athena at Alea of around 340. Active in the second and third quarters of the fourth century, Skopas' most famous work was on the Mausoleum at Halikarnassos. He was known for the expressive emotion of his work; the badly battered heads from the pediments at Tegea, which were done by his workshop, and a few identifiable Roman copies (the Dresden Maenad, Pothos), show deeply cut eyes which create anguished expressions. Lysippus: sculptor from Sikyon in the Peloponessos who apparently worked only in bronze. His career may last from the 360s into the last decade of the fourth century His work survives only in Roman copies. He devised a slimmer proportional system for male statuary (see the Apoxyomenos, or man scraping himself, orig ca. 330) to replace Polykleitos' proportions. He was also known for his three-dimensional poses and momentary stances, and his statues of Herakles (Weary Herakles). Lysippus was the court sculptor of Alexander the Great, and made his most famous image (the Alexander with the Lance). Lysippus' students dominated Early Hellenistic sculpture to 250. V. Architects Polykleitos the Younger: architect of the elaborate Tholos at Epidaurus (360-330). Also said to be the architect of the Theatre at Epidaurus (second half of 4th BCE, or later). He was probably a relative of the famous sculptor (grandson??). Pythius: architect of the Temple of Athena at Priene (340s-334), which preserves an ideal proportional system for Ionic architecture. Earlier he worked on the Mausoleum at Halikarnassos. VI. Buildings Temple of Apollo, Bassai: 6 X 15 Doric temple built in the western Peloponnessos between 430 and 400. Its initial phase may be associated with Iktinos, but the final product shows clear signs of plan changes. Its ground plan is archaic (6 X 15 column peristyle, but the temple has a revolutionary cella design with engaged Ionic columns running down the sides, and at least one free-standing Corinthian column forming the return behind the cult statue. Above the columns ran a continuous sculpted frieze depicting in the "Rich Style" the Battle of Greeks and Amazons and the Battle of Lapiths and Centaurs. The working of this is unfortunate, but it, and the architectural decoration, reveal clear signs of influence from the High Classical temples of Athens (notably the Hephaisteion). The Mausoleum at Halikarnassos: the tomb of a Carian ruler named Mausolus built between 358-350 at Halikarnassos on the southwestern coast of Asia Minor. It had an Ionic temple atop a tall podium with a pyramid roof crowned with a chariot group of Mausolus and his wife. It

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became one of the Seven Wonders of the Ancient World. This was mainly due to its sculptural decoration, which was done by four famous sculptors-Skopas, Leochares, Bryaxis and Timotheos (or Praxiteles). Only a few statues (notably "Mausolus and Artemesia") and a frieze of the Battle of Greeks and Amazons survive in more than fragments, and it has not been possible to recover the identities of the sculptors of the various surviving sculpture. It is good sculpture. Tholos, Epidauros: a round building dedicated (perhaps) to Asklepios the Hero, it was constructed by Polykleitos the Younger between 360 and 330. Known for its elaborate carved floral decoration, the tholos had 26 Doric columns on its exterior, and 14 Corinthian columns inside. Theater, Epidauros: possibly designed by Polykleitos the Younger in the second half of the 4th century, it is the best preserved early Greek Theatre. Known for its superb acoustics. Temple of Athena, Priene: 6 X 12 Ionic temple in Asia Minor built by the architect Pythius between 350-335 BCE. Notable for its strict proportional system of design, based on a ratio of 1:2. Vergina: site of a Royal palace of the Macedonian family, built in the fourth and third centuries. Essentially a huge Greek peristyle house (115 X 100 yards), with rooms arranged around a central colonnaded courtyard . Nearby is the Great Tumulus with the Tomb of Philip and other royal tombs. VII. Gods and Mythical Figures Asklepios: originally a mortal son of Apollo, he became a popular doctor-god beginning in the fifth century BCE. His most important shrine was at Epidauros in the Argolid, which was built up during the foruth century BCE.. Telephos: illegitimate son of Herakles who moved from Arcadia to northern Asia Minor, where he fought with and was wounded by Achilles at the start of the Trojan War. The duel was shown on East Pediment of the Temple of Athena at Tegea. Telephos was later adopted by the Kings of Pergamon as a local hero, and his story was depicted on the Altar of Zeus at Pergamon (interior frieze).

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ART 381, GREEK ART: HANDOUT 4.2, HELLENISTIC ART AND ARCHITECTURE I. People and Places. The Ptolemys: Egypt was claimed by Ptolemy I soon after Alexander the Great's death. He became its king in 305 BCE, and his family ruled ther until 31 BCE. Their capital was at Alexandria in the delta, the greatest city of the Hellenistic world and the site of a famous library. The Seleucids: ruler of the largest of the Hellenistic kingdoms named after the general who founded the dynasty, it stretched at one time from Asia Minor to India. Its major service was to Hellenize Syria and the Levant. Pergamon: kingdom ruled from its capital on the northwestern coast of Asia Minor after 270. In the later third and the second centuries BCE, it became wealthy and powerful, and preserves notable architectural and sculptural embelishment. Was willed to Rome in the 130s by its last ruler. Macedonia: ruled by the Antagonid dynasty in the 3rd and 2nd century, it was absorbed into the Roman Empire in 167 BCE. II. Sculpture The Tyche of Antioch: Notable for its three-dimensional, spiraling pose, several copies survive of this bronze of the 290s made by Eutychides, a pupil of Lysippus. Shows the Fortune of a city in Syria founded by Seleucus ca. 300 BCE seated over a swimming river god (the Orontes River). The Alexander Sarcophagus: sculpted sarcophagus made for the last Phoenician king of Sidon (named Abdalonymos) around 311 BCE. Shows on one main side a lion hunt, on the other a battle. Both feature images of Alexander the Great, associating him with the King of Sidon. The Dherveni Krater: enormous gilded bronze krater made in around the middle of the fourth century and buried in a tomb at Dherveni in Macedonia. Shows Dionysos, his wife Ariadne and his followers whooping it up on the body in relief. On the shoulders are statuettes in the round of sleeping and drunken figures. A good example of the elaborate metal vases which were common in the later fourth century and the Hellenistic Age. Demosthenes: a statue of the famous Attic orator was made in Athens by Polyeuktos in 280, 42 years after Demosthenes' death. It shows him lost in thought, looking nervous. A notable imaginary Greek "psychological" portrait, designed to depict Demosthenes’; nature rather than his real appearance. The Alexander with a Lance: statue by Lysippus showing Alexander nude and dynamically clutching a spear (very much like the Spearbearer of Polykleitos, but with more torsion to the pose). Became a model for later ruler portraits such as the powerfully muscled "Hellenistic Ruler" of the 2nd or the 1st century BCE. Gallic Victory Monument, Pergamon: part of a series of overlifesize and heroically expiring Germans which formed part of a victory monument erected in the 220s by a king of Pergamon. The earliest datable examples of the Hellenistic "Baroque" style; they survive only in Roman copies. “The Dying Gaul”, a collapsing trumpeteer, is the most famous of these figures. The

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“Gaul Killing Himself after Killing his Wife” is part of the same monument, it seems, since this two figure group is the same size as The Dying Gaul. All the figures are powerfully muscled and dynamic. Altar of Zeus, Pergamon: enormous Ionic altar built ca. 180-150. Features a frieze on its exterior over 300 feet long showing in the dramatic Hellenistic "Baroque" style overlifesize figures of Gods defeating Giants (Athena kills the giant Alcyoneos, Zeus Battles Giants). All were carefully labeled and the altar thus is a good example of Hellenistic scholasticism. On the interior was a more pictorial frieze showing the story of Telephos, who the Pergamenes claimed as mythological ancestor. The Barberini Faun: a nude satyr "sleeping it off," made ca. 200. His "open" pose and powerful musculature make it clear that he is a symbol of male eroticism. Style is Hellenistic "Baroque." The Nike of Samothrace: created by Rhodians around 180 to commemorate a naval victory (of unknown date), she stood in a fountain dramatically posed on the prow of a ship. A fine example of the Hellenistic "Baroque" style. Laokoon Group: dramatic mythological group showing a Trojan priest and his sons being devoured by serpents. In the Hellenistic "Baroque" style, it was done by three Rhodian sculptors in Rome, likely in the early first century CE. The Crouching Aphrodite: created probably in the second half of the third century BCE, she retains the complicated spiraling poses and pyramidal composition loved by the followers of Lysippus, but also has aspects of the Hellenistic "Baroque" style in her sharply turned head. Was intended to be seen as surprised while bathing, hence her nudity is still motivated. Aphrodite of Melos: partially clad cult statue of the goddess made on Melos around 125. Displayed in a gym, she held out the Apple of Love in one hand, encouraging the boys to get buff. Her nude upper body is not motivated, unless to suggest a potential reward for a studly bod. Shows a typical Late Hellenistic twisting pose, also the small shoulders and large hips favored in this period. Usually called by the French name “Venus de Milo.” The “Slipper Slapper:” erotic group that shows Aphrodite threatening to hit a diminutive if wellpackaged Pan with her slipper, since he is clearly propositioning her. Venus flies between them to encourage the liaison. This group was made for a men’s club on Delos. Sleeping Eros: part of “Hellenistic Rococo,” perhaps made around 150-100, this bronze original shows the God of Lust as an infant sleeping on a rock after a hard night of making people horny (compare the Barberini Faun above). The little rascal is just too cute. Seated Boxer: likely made in the first half of the first century BCE, it shows a veteran athlete seated and looking up at us. His battered face shows the price of his continued athletic activity and the new Hellenistic professional athletes. An example of Hellenistic realism. Myrrhinas: terracottas made on an island off the coast of Asia Minor and very popular in the second century BCE. These often show genre (everyday life) scenes similar to those known from contemporary theatrical mime (“Women Gossiping”) and/or cute images of Eros.

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III. Painting Apelles: Alexander's court painter, active in the second half of the fourth century BCE; famed for his three-dimensional poses and the "grace" of his figures. One of his paintings showed Alexander holding Zeus' thunderbolt. Pella Mosaics: Pella was the capital of the Kingdom of Macedonia, and its wealthy houses preserve fine mosaics of the late 4th and early 3rd centuries (i.e. c. 300 BCE). These are made with pebbles, but approximate paintings. Particularly notable mosaics depict “Dionysos riding a Panther,” and a “Stag Hunt.” The latter is signed by its artist, Gnosis. The Alexander Mosaic: laid in the House of the Faun at Pompeii in the late 2nd century or early first century (c. 100 BCE), this mosaic copies an earlier Greek painting of the Battle of Issus (333 BCE), in which Alexander defeated the Persian King Darius. The action takes place in a space of some depth, although no real landscape is provided. The artist concentrated on creating a realistic sense of the turmoil of battle, and on depicting the psychology of the two heroic protagonists (Alexander and Darius). The original painting probably was done in the late 4th BCE. It most likely copies a famous painting made for the King of Macedonia by Philoxenos of Eretria around 315 BCE. Nile Mosaic: A large mosaic found in a cave in the Sanctuary of Fortune at Palestrina in Italy. Shows a "birds' eye" view of the Nile from its mouth to its sources with genre descriptive scenes for each stage in the "voyage." Dates c. 100 BCE. It likely preserves a tradition of “topographic” painting associated with Alexandria in Egypt (literary sources mention a “Demetrios the topographic painter”). Dioskourides of Samos: mosaicist who made and signed two scenes from New Comedy (a type of theatre popular in the late 4th to early 3rd BCE) found in a house at Pompeii in Italy. He made the scenes, which street musicians and a old procuress dining, around 100 BCE, but they seem to copy original paintings of around 270 BCE. The Odyssey Frieze: painting cycle found in a house in Rome; dates to ca. 50 BCE Seems to present excerpts of a larger cycle of the wanderings of Odysseus. If the prototype is Hellenistic, as seems likely, the Odyssey frieze provides evidence for Hellenistic landscape painting, since it depicts small figures in a deep landscape background. The scenes shown are those associated by Hellenistic scholarship with Italy. IV. Architecture. Temple of Apollo, Didyma: an enormous Ionic temple (168 X 359 feet on its stylobate, with columns 60 feet tall!) near Miletus begun in the late 4th century BCE and only completed in the 1st century CE. It was dipteral, 10 X 21 columns, and the bases of the forecourt had sculpted decoration. The interior was open to the sky, with the cult statue contained in a small temple. To reach the interior court, one passed through vaulted passageways. Temple of Artemis, Magnesia on the Meander: designed by Hermogenes around 17 BCE5, it was Ionic, pseudo-dipteral and designed to a strict proportional system which Hermogenes published in a book. This book influenced the Roman architect Vitruvius.

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Bouleuterion, Miletus: built ca. 170 BCE, it is the most elaborate Greek council house known. The interior had seats for around 1200 arranged in a half-circle; the exterior had a propylon and an open court. Stoa of Attalos, Athens: built in the Agora between 159 and 138 BCE as a gift of Pergamon, it has been reconstructed and remains the best example of a two-story market building. Pergamon’s Acropolis: remains the best example of the dramatic presentation favored by Hellenistic planning. Besides the Altar of Zeus, it had a very steep theatre on the slope of the Acropolis, a temple of Athena (Polias), in the stanctuary of Athena, a famous Library., and a Royal palace.

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