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Prehistoric and Early Greek Art

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Prehistoric and Early Greek Art Prehistoric and Early Greek Art The Robert and Renee Belfer Court The Metropolitan Museum of Art The Robert and Renee Belfer Court The opening of The Robert and Renee Belfer Court completes the first phase of The Metropolitan Museum of Art's renovation of the galleries of ancient Greek and Roman art. Based on Richard Morris Hunt's plan of 1895, the Belfer Court displays prehistoric and early Greek art. During the second phase of the renovation, eleven galleries devoted to Greek art of the Archaic and Classical periods, as well as Cypriot art, will be reinstalled. The final phase of this large project will focus on exhibition areas for Hellenistic, South Italian, Etruscan, and Roman art, and Roman art will again be presented in the atrium (now the restaurant). Represented on the west side of the Belfer Court are several regions— the Cycladic Islands, Crete, and parts of the Greek mainland centered around Mycenae—where major works of art were first produced. The respective cultures, known as Cycladic, Minoan, and Mycenaean, flourished during the prehistoric period known as the Bronze Age, between about 3200 and 1050 B.C. After a period of decline and general impoverishment, a vigorous resurgence took place that was centered upon Athens. Between about 1050 and 700 B.C. an artistic style known as Geometric prevailed over most of Greece. Attic South Italian The east side of the Belfer Court is devoted to the succeeding Archaic period of about 700 to 480 B.C. The emphasis is on works that display the colorful, complex multiplicity that characterized the Greek world for more than two centuries rather than on works that represent a succession of cultures that came to the fore over a long period. This side of the Court highlights the art of eastern and western Greece (the Greek colonies in western Asia Minor and southern Italy and Sicily), of Crete, and of various areas on the mainland that flourished at this time: Corinth, Lakonia, Boeotia, and Euboea. While works from Attica (with its capital, Athens) are included, they will be highlighted during the second phase of the renovation. Artists from these areas shared such features as great proficiency in working bronze and clay and an iconographical repertory that favors animals and stylized plant motifs as well as the exploits of the gods and heroes of mythology. Archaic Greece met the challenge of the Persian invasions that ended in 479 B.C., assuring the continuity of its traditions. Geometric Early Bronze Age 1 WEST GALLERY The Cycladic Islands Situated in the southwestern Aegean Sea, the Cycladic Islands were settled in the mid-sixth millennium B.C.; the origin of the inhabitants has not been established. The sculptures made during the Neolithic period are the precursors of the far more numerous—and better known—pieces datable between about 3200 and 2000 B.C. that are commonly called Cycladic. These works are a product of an imperfectly understood culture; few settlements have been found and much of the available evidence, including the figures, comes from graves. In the predominance of human form, the use of marble heightened with polychromy, the application of proportions, and the harmony of parts, the works initiate the glorious tradition of Greek marble sculpture. Female Figure, marble, Cycladic, Early Cycladic II, Minoan Crete late Spedos type, ca. 2600-2400 B.C. The prehistoric culture of Crete is known as Minoan, Gift of Christos G. Bastis, 1968 68.148 after King Minos. Having seduced Europa in the form Right: of a bull, Zeus carried her to Crete, Female Figure, where Minos was born and later marble, Cycladic, ca. 4500-4000 B.C. built the celebrated Labyrinth. The Bequest of Walter C. Baker, 1971 culture of Crete reached its apogee 1972.118.104 with the establishment of centers, Vase in the Form called palaces, that concentrated not of a Bull's Head, terracotta, Minoan, only political and economic power Late Minoan II, ca. 1450-1400 B.C. but also artistic activity. The first palaces, Gift of Alastair B. Martin. 1973 notably at Knossos and Phaistos, devel­ 1973.35 oped about 1900 B.C. After widespread destruction, new palaces were built during the seventeenth century B.C.; from about 1500 B.C. on, there is increasing evidence of influence from the mainland. By about 1100 B.C. the entire culture was in decline. The Minoan art most fully represented in the Metropolitan is seal engraving. Seals reveal an Agate Lentoid: extraordinary sensitivity to materials Griffin, Cretan, Late Minoan II. and to dynamic form, whether the ca. 1450-1400 B.C. Funds from various subjects are drawn from nature or donors, 1914 are purely ornamental—characteristics 14.104.1 that are equally apparent in other media, whether clay, gold, stone, or bronze. Mycenaean Greece The prehistoric culture of mainland Greece is called Helladic. Material wealth and artistic enterprise in Greece did not become conspicuous until about 1600 to 1450 B.C., as exemplified by the Shaft Graves at Mycenae. The subsequent four centuries saw an extraordinary flowering of a culture centered in strongholds immortalized by Homer's Iliad and his Odyssey—Mycenae, Pylos, Sparta, and Thebes, to name a few. This Late Helladic period is commonly called Mycenaean. Due to the commercial sunup jar with oaopus, and military initiatives of local rulers, Mycenaean terracotta, Helladic, . • l j i i Mycenaean, Late Heiiadic me, goods—and even outposts—were widespread around the Purc^L^uisaEidndge Mediterranean Sea, from Italy to the Levant. Mycenaean McBumey Gift, 1953 contacts with Minoan culture exerted a powerful effect 53.11.6 r on the art of both cultures. Although the Mycenaean Age came to an end about 1050 B.C. and was followed by a period of impoverishment, many sites and traditions reemerged in the subsequent Geometric period. Geometric Greece The roots of classical Greece lie in the Geometric period of about 1050 to 700 B.C. The primary Greek institutions were established—city-states, major sanctuaries, Pan-Hellenic festivals—and the Greek alphabet developed and spread. The eighth century is also the time of Homer, whose account of the Greek campaign against Troy constitutes one of the major sources of subject matter for Greek, Roman, and later European art. The Geometric period Man and Centaur, bronze, derives its name from the Greek (Geometric), mid- 8th century B.C. Gift of prevailing artistic idiom, J. Pierpont Morgan, 1917 which was based upon 17.190.2072 rectilinear and curvilin- W> Right: Funerary Krater, ear forms. While the /'*^' terracotta, Greek (Attic, Geometric), style is simple, the works second half of the 8th century B.C. are highly refined. The Rogers Fund, 1914 monumental vases and 14.130.14 powerful bronzes mani­ fest not only a masterful technical command of the media but also the clarity and order that are, perhaps, the most salient characteristics of Greek art, which reached its height in the fifth and fourth centuries B.C. The Ancient Greek World ETRURIA Caere .Rome ITALY ADRIATIC SEA .Cumae MACEDONIA .Neapolis Bay ^ of Naples .Taras Metapontion" GREECE .Sybaris THESSALY AEGEAN TYRRHENIAN SEA .Kroton EUBOEA ue,Delohnii Chalkis P • BOEOTIA • .Eretria .Lokroi Thebes* „ .. .Rhegion „ . Athens .Selinus Olympia. Connth ATTICA Sicily 'Naxos •Mycenae Akragas' PELOPONNESOS ARG°L"D Gela" .Syracuse „ , Sparta. py'°s. LAKONIA Crete MEDITERRANEAN SEA Cyrene •Istros BLACK SEA .Odessos •Sinope THRACE .Apollonia Tios. Herakleia. Byzantion. .Chalkedon .Troy ASIA MINOR SEA Lesbos PHRYGIA .Kyme LTUIM •Sardis .Klazomenai Chios IONIA •Ephesos Samos Priene 'Miletos Delos CARIA Paros Al Mina. Naxos Kos CYCLADIC ISLANDS Rhodes LEVANT Knossos Cyprus Phaistos Sidon. Tyrus. Naukratis EGYPT 100 Miles 200 Kilometers EAST GALLERY Greek Expansion in the Mediterranean and Contacts with the Near East As the turmoil and poverty that followed the decline of Mycenaean civilization in Greece slowly abated, the Greeks ventured into the Mediterranean, first seeking opportunities for trade and then founding new indepen­ dent cities, from the western coast of Asia Minor to southern Italy and Sicily. Trading stations in the Levant and later in the Nile Delta led to contact with literate urban civilizations that had well-established artistic and cultural traditions. The Greeks borrowed and assimilated so much from cultures to the east that the eighth Vase in the Form of and seventh centuries are commonly called the a Woman, terracotta, East Greek, possibly Orientalizing period. They adopted an alphabetic Samian, ca. 540-530 B.C. script from the Phoenicians (who were Bequest of Richard B. Seager, 1926 settled in Syria-Palestine) that was so 26.31.453 ingeniously simple that reading and Right: Cosmetic Vase, terracotta, writing became widely accessible for the East Greek or Lydian, first time. The most easily traceable influences 7th century B.C. Classical Purchase Fund, can be seen in the transformation of Greek art. Unlike 1977 1977.11.3 the abstract geometric patterning that dominated Greek art from about 1050 to 700 B.C., Near Eastern art was representational and naturalistic. Moreover, Oriental craftsmen were highly skilled in such diverse techniques as gem cutting, ivory carving, jewelry making, and metal working. Inspired by objects brought to the mainland and trained by itinerant eastern craftsmen, Greek artists soon began to work in a variety of media and to introduce Oriental pictorial motifs, including palmette and lotus patterns, hunting animals, lion fights, and such composite beasts as griffins, sphinxes, and sirens. Although always open to new ideas, the Greeks were not merely imitators, and they rapidly assimilated the naturalistic style and foreign motifs to forge the foundations of Archaic and Classical Greek art. The Greeks in the Eastern Mediterranean By the tenth century B.C. Greeks had settled along the western coast of Asia Minor, founding cities at the mouths of important rivers and on the offshore islands of Samos and Chios.
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