Ch. 5 - Ancient Greece
Anavysos Kouros Archaic Greek.
c. 530 B.C.E. Marble with remnants of paint.
Anavysos Kouros • •
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“Kouros” = young man
Kouroi are almost always nude and associated with gods, warriors, & victorious athletes.
Kouroi symbolic of ancestors due to connection to fertility.
Exemplifies “Greek Ideal”
Archaic smile - used to enliven expression
similar to Egyptian sculpture.
Rounded athletic body; arms & legs freed from the block of stone…creates energy
Remnants of paint - vibrant color
https://www.youtube.com/watch?v=v1_pCZBVWuY
Peplos Kore from the Acropolis. Archaic Greek. c. 530 B.C.E. Marble, painted details.
Peplos Kore from the Acropolis. •
female counterpart to Anavysos Kouros
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Kore = young woman
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Peplos = simple garment young women wore
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Body is soft with smooth feminine curves.
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Archaic Smile
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Original had vibrant paint, a crown and jewelry creating a more lifelike appearance. Dress originally was painted with a frieze of animals Goddess? Athena? Artemis?
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https://www.youtube.com/watch? v=RjpT4Apgda8
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).
Niobides Krater •
How to Make Greek vases: https:// www.youtube.com/watch? v=WhPW50r07L8
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Calyx-Krater Vase (like a large punchbowl) ; worshipping
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Context: The engraved figures are the Greek Gods Apollo and Artemis killing the 14 children of Niobe because of offense to Leto (mother of Apollo and Artemis.) Generally accepted it is the Gathering of Argonauts or Polynotos of Thasos.
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Stiffness to the figures; severe style. Attempt at three dimensions, red-figure style, Greek
Niobides Krater • • • •
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Active vs. Passive. Complex vs. Plain
Contains story of Herakles.
Surrounded by important figures seeking approval of Herakles.
Herakles is likely a statue with a base below his feet, which means that people around him are there to worship.
https://www.youtube.com/watch?v=S3TlDyT2lyg
Doryphoros (Spear Bearer). By Polykleitos. Original 450–440 B.C.E. Roman copy (marble) of Greek original (bronze).
Doryphoros (Spear Bearer) •
Artist Polykleitos created a “canon” during the Classical Period of how to create the ideal human figure. This sculpture was created to illustrate this ideal.
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Original carried a spear and was likely Achilles. The original treatise and sculpture was destroyed but Greek writers memorialized it and the Romans recreated the sculpture based on the rations set forth in the treatise.
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The treatise of the ideal figure included guidelines for symmetry, relationship between body parts and the weight-bearing and relaxed arms and legs; perfect human form created based on mathematical equations
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Found in Pompeii where athletes worked out
Doryphoros •
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CONTRAPPOSTO (counterpose: an asymmetrical arrangement of the human figure in which the line of the arms and shoulders contrasts with while balancing those of the hips and legs.) - Balance of weight suggests movement; balanced body pose; left leg lets balance of weight on ball of foot
Greek art became the rage when Roman generals began conquering Greek cities (beginning in 211 B.C.E.), and returned triumphantly to Rome not with the usual booty of gold and silver coins, but with works of art. This work so impressed the Roman elite that studios were set up to meet the growing demand for copies destined for the villas of wealthy Romans. The Doryphoros was one of the most sought after, and most copied, Greek sculptures.
Athenian agora.
Archaic through Hellenistic Greek. 600 B.C.E.–150 C.E. Plan.
Athenian Agora •
https://www.youtube.com/watch?v=xP-FsX0QW88
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The Agora was the heart of ancient Athens, the focus of political, commercial, administrative and social activity, the religious and cultural centre, and the seat of justice.
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The site was occupied without interruption in all periods of the city's history. It was used as a residential and burial area as early as the Late Neolithic period (3000 B.C.). Early in the 6th century, in the time of Solon, the Agora became a public area.
Athenian Agora - an experiment in democracy •
The Ancient Agora of Athens is a flat area defined by the Sacred Rock of the Acropolis and the hill of Areopagus in the south and the hill of Kolonos Agoraios in the west. It is traversed by one of the most important ancient roads, the Panathenaic Way, which led to the Acropolis from the main gate of the city, the Dipylon Gate. This road served as the processional way for the great parade of the Panathenaic festival, which was held to honor the city patron goddess Athena.
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The original Agora of Athens was located below the Acropolis near the building which today is known as The Thesion
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Its significance is connected to the beginning of democracy
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https://www.youtube.com/watch?v=TYXCcTchLnI
Acropolis Plan. Athens, Greece. Iktinos and Kallikrates. c. 447–410 B.C.E. Marble.
Parthenon
Acropolis. Athens, Greece.
Iktinos and Kallikrates (architects)
c. 447–410 B.C.E. Marble.
Parthenon •
Artist: Iktinos and Kallikrates(architects); Phidias(sculptor)
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Marble, stone, used mathematics; 228ft by 101ft; columns, religious
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Context: Dedicated to the God Athena, symbol of Athenian democracy and western civilization
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part of a vast building program masterminded by the Athenian statesman Perikles. Inside the temple stood a colossal statue representing Athena, patron goddess of the city. The statue, which no longer exists, was made of gold and ivory and was the work of the celebrated sculptor Phidias.
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https://www.youtube.com/watch?v=tWDflkBZC6U
3 architectural sculpture categories of Parthenon •
Parthenon was decorated with marble sculptures representing scenes from Athenian cult and mythology.
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1. The frieze (carved in low relief) ran high up around all four sides of the building inside the colonnades.
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2. The metopes (carved in high relief) were placed at the same level as the frieze above the architrave surmounting the columns on the outside of the temple.
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3. The pediment sculptures (carved in the round) filled the triangular gables at each end.
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http://www.britishmuseum.org/explore/galleries/ancient_greece_and_rome/room_18_greece_parthenon_scu.aspx
Parthenon - frieze •
Runs on a continuous line around the exterior wall of the cella (inner chamber of the temple), is 3.2 feet high and 565 feet long.
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The sculptures are executed in low relief
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Carvings depict the people of Athens in two processions that begin at the southwest corner and parade in opposite directions until they converge over the door of the cella at the east end of the Parthenon. Almost certainly it represents the Panathenaic procession that was a central celebration in Athens during Classical times.
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https://www.youtube.com/watch? v=KzZF1lP4Rbk
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https://www.youtube.com/watch? v=zU9qSQi1E68
Parthenon - Metiope •
The sculpted decoration of the Parthenon included 92 metopes showing scenes of mythical battle.
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made in deep relief
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Most Greek temples had few decorated metopes, but in the Parthenon all ninety-two metopes were decorated on all sides with scenes from Greek mythology.
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Those on the south flank of the temple included a series featuring human Lapiths in mortal combat with Centaurs.
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https://www.youtube.com/watch? v=XXl5h257iBA
Parthenon: Pediments Helios, Horses and Dionysus •
Pediments are the triangular spaces formed by the pitch of the roof of a Greek temple, one at either end of the building. Often filled with sculpture representing mythological subjects.
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The triangular frame of the pediment presented a challenge to the designers of the sculpture placed within. There was a danger that figures at the centre would appear as giants compared with those that occupied the corners. This discrepancy in scale was lessened by allowing figures towards the corners to sit, and right in the corners, to recline. This reclining male nude is well adapted to his position.
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https://www.youtube.com/watch?v=Ip6hmC2KIug
Parthenon - EAST Pediment ~ Helios, Horses and Dionysus (Heracles?) ~ •
The east pediment (including Helios, Horses, & Dionysus) represented the birth of Athena.
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Sculpted in the round.
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According to Greek mythology Zeus gave birth to Athena after a terrible headache prompted him to summon Hephaestus’ (the god of fire and the forge) assistance. To alleviate the pain he ordered Hephaestus to strike him with his forging hummer, and when he did, Zeus’ head split open and out popped the goddess Athena in full armor. The sculptural arrangement depicts the moment of Athena’s.
Helios and Horses •
The birth of Athena took place at dawn, and this precise chronology is depicted by the heads of the horses that appear at the south corner of the pediment. The horses of Helios (sun) are depicted as if they are about to rise above the horizon pulling behind them the life giving sun. The horse’s faces are depicted in vigorous activity and full of energy, in contrast to the group of horses at the other end (the north) that appear fatigued and labor with bulging eyes, open mouths, and tense muscles to end their journey below the horizon. The horses of Selene (moon) are tired for they are at the end of their journey across the night sky.
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https://www.youtube.com/watch?v=Ip6hmC2KIug
Parthenon’s WEST Pediments •
The west pediment faced the Propylaia (monumental gateway that served as the entrance to the Acropolis)
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depicted the contest between Athena and Poseidon during their competition for the honor of becoming the city’s patron. Athena and Poseidon appear at the center of the composition, diverging from one another in strong diagonal forms with the goddess holding the olive tree and the god of the sea raising his trident to strike the earth. At their flanks they are framed by two active groups of horses pulling chariots, while a crowd of legendary personalities from Athenian mythology fills the space out to the acute corners of the pediment.
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The sculptures of the Parthenon pediments are some of the finest examples of classical Greek art. Figures were sculpted in natural movement with bodies full of vital energy that bursts through their flesh, as the flesh in turn bursts through their thin clothing. Thin chitons allow the body underneath to be revealed as the focus of the composition.
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Sculptures were finished all around even though parts of them were placed against the back wall of the pediment never to be seen. Finishing the figures even in areas unseen was necessary in order to ensure the high degree of realism that the artists were aiming for.
Temple of Athena Nike
Acropolis
Temple of Athena Nike •
Location: Acropolis plateau, right next to the Propylaia, atop a protruding tall mass of rock, strategically located in a way that protects the south flank of the most vulnerable access point and gate to the citadel.
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place of worship for deities associated with wars, Goddess Nike (victory) or Athena (military victory)
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Contained an open pit and Greeks used to pour libations and deposit primitive figurines of the deities worshiped.
Temple of Athena Nike •
The Classical temple is considerably smaller than the other temples of the Acropolis
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first building that greets the visitors who approach the Propylaia. Elegant Ionic features balance the dominating Doric character of the Propylaia.
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It faces to the east and its entrance is lined with four monolithic Ionic columns that support a shallow porch.
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The west end has four Ionic columns and a porch, but they preceded a blind wall.
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The inclusion of a tetrastyle (four columns) at the back of the temple was necessary for this side faced the entrance to the Acropolis.
Victory adjusting her sandal Acropolis - Temple of Athena Nike
Temple of Athena Parapet •
In the Temple of Athena Nike
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Part of the Acropolis
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Nike = Victory
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When temple created people were afraid of falling, so a small parapet (railing) was created and filled with small sculptures of Nike; 4 ft.
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Most famous sculpture in parapet is Victory adjusting her sandle
Victory adjusting her sandle •
She is off balance using her wings and arms to steady herself; awkward body; Greeks normally were very concerned with showing balance & evenness
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drapery on Nike; very revealing; most erotic of the Greek sculpture due to the transparency of the drapery; drapery pulls between her legs drawing the eye to the darkness of the folds between her legs
Victory adjusting her sandle •
high relief marble panel from the parapet of the Temple of Athena Nike in the Acropolis of Athens.
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stunning figure, most remarkable for the way in which the fabric covering Nike seems weightless, its neartransparency accentuating rather than covering the form of her body.
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This achievement in sculpting is a marked digression from the robust but indelicate Kore of the Archaic Period, and seems to designate the Classical artist’s moving away from the wellmastered human form.
Grave stele of Hegeso Atributed to Kallimachos
C. 410 BCE.
Marble and Paint
Grave stele of Hegeso •
End of High Classical moment there was a resurgence of funerary works; disappearance of grave markers during the High Classical period; focus was the State
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Hegeso is the woman in the stele receiving a jewelry box and looking at a necklace
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Very closely follows the frieze of the Parthenon, especially the detail of the drapery around there body
Grave stele of Hegeso •
Inscription says “Hegeso, Daughter of Proxinos” - Women were defined by relationship with men
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Domestic scene due to women’s status in Greece; pediments to the sides to symbolize home
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Chair was very precise; foot on footstool so she never touches ground
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Despite low relief carving, the drapery is used to indicate her true size; falls in front of chair; veil to right of head; folds of drapery around her leg
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Solemn to fit occasion
Winged Victory of Samothrace Hellenistic Greek.
c. 190 BCE
Marble
a/k/ Winged Nike of Samothrace •
9 ft. tall. Lartos marble (ship) and Parian marble (figure). Goddess of Victory
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Found in a sanctuary facing the wind and drapery indicates that movement from the wind — response to natural forces of the wind.
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unearthed in 1863 after its discovery under the direction of Charles Champoiseau , the French Vice-Consul to Turkey.
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feeling of movement due to twisted body and drapery swirling about her abdomen, also due to wings in a pulled back position
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creases and folds in the texture of the marble due to drapery and wings
Great Alter of Zeus and Athena at Pergamon
Asia Minor (present day Turkey).
Hellenistic Greek. C. 175 BCE.
Marble (architecture and sculpture)
Great Altar of Zeus and Athena at Pergamon •
expresses love of body and expressiveness; complex physical positions
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Hellenistic period — LAST period of “Greek” art (Alexander the Great expanded his territory)
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this frieze shows the great battle of Zeus and the titans; represents triumph over chaotic forms of nature
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Athena at center battling Giant Titan; pulling Alcyoneus from the earth, disempowering him. Athena being crowned by winged Nike
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Zeus taking on three giants; wildly wiping drapery
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Originally painted; sculpted in diagonals which activate the surface of the sculpture; high relief —sculptures appear to pour out onto the space intended for humans.
Seated Boxer by Apollonius (the Athenian)
Hellenistic Greek.
c. 100 BCE
Bronze
The Bronze statue Boxer at Rest at time of discovery in 1885 on the south slope of the Quirinal Hill in Rome.
Seated Boxer •
The boxer is represented just after a match. The statue portrays a boxer seated with his arms resting on his knees, his head turned to the right and slightly raised with mouth open.
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muscular body and full beard are those of a mature athlete, and his thick neck, lanky legs, and long arms are well suited to the sport.
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The figure is naked except for his boxing gloves, which are of an ancient Greek type with strips of leather attached to a ring around the knuckles and fitted with woolen padding (caestus), and the protection around his genital region for decorum (infibulation)
Boxer at Rest •
face exhibits bruises and cuts; lips are sunken as though his teeth have been pushed in or knocked out.
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broken nose and cauliflower ears are common conditions of boxers, probably the result of previous fights, but the way he is breathing through his mouth and the bloody cuts to his ears and face make clear the damage inflicted by his most recent opponent. Cuts were originally filled with copper to simulate blood
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The muscles of his arms and legs are tense as though, despite the exhaustion of competition, he is ready to spring up and face the next combatant.
Seated boxer •
discovered in 1885, possibly from the remains of the Baths of Constantine. It appears to have been carefully buried in antiquity.
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The fingers and toes were worn from being rubbed by passers-by in ancient times— suggests that Boxer was carefully buried to preserve its value as a good luck charm, likely due to abandoning of Baths after the Goths cut the aqueducts that fed them. [4]
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Greek original in bronze; lost wax casting; chased (sculpture is hollow); original eyes are missing but would have been wax or something highly polished; bronze is very thin
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Intent to invoke Pathos (emotion). Older male; ideally beautiful; torso collapsing; face of exhaustion; informal; not in traditional heroic posture; example of moving beyond the typical heroic form
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Comes from Hellenistic period; not a reproduction
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Lost Wax Casting Method - http://study.com/academy/lesson/the-lost-wax-casting-technique-in-antiquity.html
