Hum 110: Geometric & Proto-Corinthian Art (8Th Century)

Total Page：16

File Type：pdf, Size：1020Kb

Hum 110: Geometric & Proto-Corinthian Art (8th Century) Critics have argued that poetic style is related to both the poems content and the poet's cultural agenda. The purpose of this handout is to get you to think about how the style of attic art and literature reflect the same anxieties or concerns. A Breakdown of Early Greek Culture (see outline in Murray p. 310-311): 1. Geometric Age 875-750 Geometric Pottery 700+ Homer 2. Orientalizing Period 725-700 Early Proto-Corinthian Pottery 700+ Hesiod 3. Archaic Age 610-525 Attic Black Figure Pottery 530 Attic Red Figure Pottery Begins Lyric Poets Review from Lecture & Readings: What is Hesiod's political theory (according to the lecturers and Murray)? How does his style support or relate to his political theory? What was the influence of the near east on the style and content of Hesiod's Theogony? A Summary of Attic Geometric Style from Murray (chapter 6): Murray asserts that just as near east culture influenced the structure and content of Hesiod's Theogony, so did it influence the style of archaic art. First, how does Geometric Art style related to the style and values of Homer and Hesiod's day? Second, presumably, if a culture (e.g. Early Greece) adopts the cultural ways of another culture (e.g. the Phoenicians) and they are not coerced into doing so (e.g. due to colonization), they are doing it because something about the other culture appeals to them. Can you make sense of why the following aspects of near eastern style might have appealed to the Greeks and been adopted into Greek pottery? Geometric Style Stylistic Parallels in the Proto Corinthian Style Iliad, Theogony, and (Oriental Influence) Works and Days regular geometric patterns freedom of line chequer boards, swastikas, curved patterns, spirals, curls, zigzags, meanders volutes, rosettes, palmettes, lotus flowers stylized animals (usually exotic animals, emphasis on repeated into a pattern) naturalism ritualized scenes emphasis on mythology and epic stories.

Copy Link

Recommended publications

Revista Brasileira De Estudos Clássicos C L a S S L C a CLASSICA
revista brasileira de estudos clássicos C l a s s l C a CLASSICA. Revista Brasileira de Estudos Clássicos [ISSN 0103-4316 / e-ISSN 2176-6436] Caixa Postal 905, 30161-970, Belo Horizonte, MG, Brasil SOCIEDADE BRASILEIRA DE ESTUDOS CLÁSSICOS Diretoria (2018-2019) Filomena Yoshie Hirata, USP (Presidente de Honra) Tatiana Oliveira Ribeiro, UFRJ (Presidente) Luisa Severo Buarque de Holanda, PUC-Rio (Vice-Presidente) Beatriz Cristina de Paoli Correia, UFRJ (Secretária Geral) Juliana Bastos Marques, UNIRIO (Secretária Adjunta) Charlene Martins Miotti, UFJF (Tesoureira) Fernanda Cunha Sousa, UFJF (Tesoureira Adjunta) EditorES Tatiana Oliveira Ribeiro (UFRJ) Luisa Severo Buarque de Holanda (PUC-Rio) CONSELHO EDITORIAL Luisa Severo Buarque de Holanda, Presidente, PUC-Rio (2018-2019) Adriane da Silva Duarte, USP (2016-2019) Alessandro Rolin de Moura, UFPR (2013-2019) Fábio Faversani, UFOP (2016-2019) Fábio Vergara Cerqueira, UFPel (2013-2019) Gabriele Cornelli, UnB (2013-2019) Henrique Fortuna Cairus, UFRJ (2016-2019) José Geraldo Costa Grillo, UNIFESP (2013-2019) Kátia Maria Paim Pozzer, UFRGS (2016-2019) Maria Cecília de Miranda N. Coelho, UFMG (2013-2019) Paulo Martins, USP (2013-2019) Paulo Sérgio de Vasconcellos, UNICAMP (2016-2019) Renata Senna Garraffoni, UFPR (2013-2019) Teodoro Rennó Assunção, UFMG (2016-2019) CONSULTORES INTERNACIONAIS Airton Brazil Pollini (Université de Haute Alsace, Mulhouse, França) Aloys Winterling (Humboldt-Universität zu Berlin, Alemanha) Ana María González de Tobia (UNLP, Argentina) Anastasia Bakogianni (Massey
[Show full text]
ARCL0162 Make/Mean Gk – Handbook 2018/19 1
ARCL0162 Make/Mean Gk – handbook 2018/19 1 UCL, INSTITUTE OF ARCHAEOLOGY ARCL0162 MAKING AND MEANING IN ANCIENT GREEK ART COURSE-HANDBOOK 2018/19 15 credit optional module - MA [ARCL0163, 20 Credit version – KCL etc] Turnitin Class id: 3885651 Turnitin password: IoA1819 Module coordinator: Professor Jeremy Tanner [email protected] Office: Room 105. Tel: 0207 679 1525 Office hours: Tuesday, Wednesday 11am-12pm 1. Overview of course: This module is designed to develop in students the skills of careful looking, and detailed visual analysis, grounded in a strong awareness of the major theoretical issues, which are central to research in classical art history. It will take the form of a series of seminars addressing key themes in the historiography of classical art through detailed consideration of specific works of art in the British Museum and other London museums, where most classes will be held. Alongside traditional concerns with issues of style and iconography, a particular emphasis will be laid on questions of ‘facture’, ‘materiality’ and ‘agency’ which have been at the centre of recent discussions in archaeology, the anthropology of art and art history. Particular themes and classes may vary from year to year to reflect students’ own research interests, new publications and special exhibitions. Module schedule: Classes will be held in the British Museum, 2-4pm every Tuesday. We will meet in the Great Court at the Entrance to the Egyptian Galleries. 3/10/17: 1. Introduction to the course: some key concepts and approaches 10/10/17: 2. Geometric Greek art and the world of Homer 17/10/17: 3.
[Show full text]
Quiz 1 Answer Key Following Is Information to Help You Assess Your
Quiz 1 Answer Key Following is information to help you assess your success in answering the questions in Quiz 1. Each answer is worth 5 points for a total of 75 points. Usually, it can be considered that each important piece of information within an answer is worth 1 point. If you omitted some of the points below in your answers but made other important and relevant points instead, you would not necessarily have lost points. Following is the grading scale: 67 points and above: A 60–66 points: B 52–59 points: C 45–51 points: D Below 45 points: F 1. What culture(s) and historical era does classical antiquity refer to? What are some of the important values that this/these culture(s) promoted? Comment [AB1]: Note to self: Make all questions match the quiz. To have fully answered this question you should have, at some point, mentioned the time period spreading from approximately 500 BC to 400 AD. Also included in your answer should be the fact that when we refer to the cultures of classical antiquity we refer to those of ancient Greece and Rome. Some of the values that were promoted by these cultures and that you could have mentioned are: humanism, reason, beauty, and civic involvement. It would have been good to briefly explain the values you chose in their ancient context. 2. What is the Geometric period of Greek art? Situate this period on a timeline, and explain its title and its style. What periods came before and after it? The Geometric period of Greek art spanned the 9th and 8th centuries BC.
[Show full text]
Bronze Work of the Geometric Period and Its Relation to Later Art Author(S): S
Bronze Work of the Geometric Period and Its Relation to Later Art Author(s): S. Casson Source: The Journal of Hellenic Studies, Vol. 42, Part 2 (1922), pp. 207-219 Published by: The Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/625903 . Accessed: 08/01/2015 16:28 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Society for the Promotion of Hellenic Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org This content downloaded from 128.235.251.160 on Thu, 8 Jan 2015 16:28:00 PM All use subject to JSTOR Terms and Conditions BRONZE WORK OF THE GEOMETRIC PERIOD AND ITS RELATION TO LATER ART 'IN the pottery of the Geometric style,' says Dr. Buschor in his Greek Vase Painting,1 'are latent the forces which we see afterwards expanding in contact with the East as well as the oldest beginnings that we can trace of that brilliant continuous development which led to the proud heights of Klitias, Euphronios and Meidias. Its producers may be unreservedly described as Greeks.' The statement.
[Show full text]
Ancient Art, 1958-1964 Bieber, Margarete Greek, Roman and Byzantine Studies; Summer 1965; 6, 2; Proquest Pg
New Trends in the New Books on Ancient Art, 1958-1964 Bieber, Margarete Greek, Roman and Byzantine Studies; Summer 1965; 6, 2; ProQuest pg. 75 New Trends in the New Books on Ancient Art, 1958-1964 Margarete Bieber TABLE OF CONTENTS FOREWORD Page I PRE-GREEK ART 76 1. Oriental Art 76 2. Crete and Mycenae 77 II GREECE 78 1. Archaic Period 78 2. Vase Painting 79 3. Handbooks 82 4. Architecture 88 III REPRINTS 89 IV ETRURIA 93 V ROMAN ART 96 1. Comprehensive Books 96 2. Roman Provinces 100 3. Architecture 107 4. Sculpture 115 5. Painting and Mosaic 116 VI CATALOGUES OF MUSEUMS AND EXHIBITIONS 120 CONCLUSION 141 Foreword HERE HAS BEEN AN ENORMOUS OUTPUT of books on ancient art Tsince I reported on publications appearing between 1952-1957.1 Librarians, classicists, historians, and art lovers have asked me from time to time which of this flood of books they ought to buy for their libraries or their private reading. I thought it desirable, therefore, 1 CW 52 (1958) 72-75. 75 76 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 to compile a kind of critical bibliography of the best books which have appeared in the last six years. In the following survey, I have included those which I consider most important among works available to me, and I have mentioned a few of which I have at least seen a favourable review. I have arranged these books according to subject, giving pre ference to good surveys of larger fields. I have excluded encyclopedias, articles in periodicals, and reports on excavations.
[Show full text]
Knowledge Organiser-Year 4 Art-Summer Term
Art and Design Technology-Year 4 – Ancient Greece Linked to the term’s topic on Ancient Greece children will learn about the different types of ancient Greek art with a focus on ceramics. Pupils will create their own vase out of clay and create their own patterns on their vases. In this unit children will: Key Vocabulary Learn about the different sorts of Greek art. Decorative – some vases were for practical reasons and They will know what geometric art, black figure others were to look good for wealthy Greek homes. These potter and red figure pottery is. were purely decorative. Pupils will understand that some pottery was Geometric art – Geometric art is a phase of Greek art decorative whilst others were practical. characterized larelgy by eometric motif in vase paintings. They will know the name of some different types of You will see patterns rather than people on these vases. Greek pottery. Pupils will collect images of Greek pottery and Black figure pottery – black figures wlll be found on these geometric patterns in their sketch books and vases. annotate them. Red figure pottery – red figure will be found on these vases. They will sketch out their own designs and patterns Clay – a 3D material used to make the vases. analysing and evaluating them in their sketchbooks. Clay slip – watered down clay used to stick down the clay. Pupils will explore clay as a medium. Hermonax – a famous Greek vase painter. Pupils will create a clay vase. Evaluate – something artists and designers do at the end of a Pupils will evaluate their vase in their sketchbook.
[Show full text]
A Cross-Disciplinary Study of Ancient Greek Kairos, Circa 3000–146 Bce
FROM NATURE TO THE IDEAL: A CROSS-DISCIPLINARY STUDY OF ANCIENT GREEK KAIROS, CIRCA 3000–146 BCE A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY BY NICOLE RUTH CARDASSILARIS DISSERTATION ADVISOR: DR. PAUL W. RANIERI BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2019 To my intellectual DNA, and to my biological DNA, but especially to my son, Nicholas 2 CONTENTS PAGE Acknowledgements ………………………………………………………………… 4 List of Figures …………………………………………………………………….. 7 Chapter 1. Introduction …………………………………………………………….. 10 Chapter 2. Denotations and Connotations of Ancient Greek Kairos: A Review of Literature in Three Academic Disciplines ……………. 36 Chapter 3. Towards a Prehistory of Ancient Greek Kairos: What Constituted the Greeks’ Understanding of “a Moment in Time” between 3000-600 BCE? …………………………………………… 81 Chapter 4. The Expansion and Organization of Expression: Kairos in Transition, 800-400 BCE ………………………………… 124 Chapter 5. From Nature to Humankind: Framing the Conventional and Ideal Kairos, 400-146 BCE ……………………………………... 181 Chapter 6. Conclusion ……………………………………………………………….. 231 Bibliography …………………………………………………………………………. 245 3 ACKNOWLEDGEMENTS First I would like to thank the professors who sat on my dissertation committee. Thank you Professors Paul Ranieri (Rhetoric and Writing), Robert Habich (American Literature), Christine Shea (Classical Studies), and Richard King (Classical Studies). Robert Habich advised the approach and structure of my research, while providing expert feedback and expert advice for revisions. Christine Shea and Richard King advised on the sociocultural aspects of ancient Greece, Greek mythology, and various philological corrections and recommendations on translations of ancient Greek. I thank each one of you for your encouragement to complete this project. For my cross-disciplinary study of ancient Greek kairos, I feel fortunate for the cross- disciplinary make-up of my committee.
[Show full text]
Greek Art and Architecture Fall 2001 Course No.: ART 265
Greek Art and Architecture Fall 2001 Course no.: ART 265 Prof: Margaret L. Woodhull Office and Office Hours: Clough Hall 412 Meeting Time: MWF, 9:10-10:10 a.m. Mon. 3-5 p.m. and by appt. Email: [email protected] Ph: 843-3140 Course Objectives: This course will present the art and architecture of Greece, Asia Minor, and southern Italy (Magna Graecia) from the Bronze Age through the Hellenistic period.(ca. 1500-30 B.C.E.). It will consider the development of the classical orders and design in architecture, innovations in painting and sculpture, and the cultural and political significance of art in ancient Greek society Course Requirements and Grading: By the end of the class, students must be able to identify and discuss the material culture of Greece as it relates to the historical circumstances in which it was produced. Students will be expected to know major monuments and understand them in terms of their stylistic development and historical context. They must also exhibit an ability to interpret data meaningfully and independently in presentations and written work. There will be two exams, each worth 30% of the final grade, one paper worth 30%, class participation, attendance and pop quizzes worth a total of 10%. Class participation and attendance are mandatory. Two unexcused absences will result in the lowering of your final grade by five points. Every missed class beyond the second will lower your grade an additional point. Texts: 1) J.G. Pedley, Greek Art and Archaeology, 2d. edition; 2) a prepared course packet available at the campus bookstore, and 3) several readings on reserve are the principle texts for the course.
[Show full text]
Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi
Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Molly Evangeline Allen All rights reserved ABSTRACT Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen In Athens in the early 5th century BCE, a new genre of funerary vase, the white-ground lêkythos, appeared and quickly grew to be the most popular grave gift for nearly a century. These particular vases, along with their relatively delicate style of painting, ushered in a new funerary scene par excellence, which highlighted the sorrow of the living and the merits of the deceased by focusing on personal moments of grief in the presence of a grave. Earlier Attic funerary imagery tended to focus on crowded prothesis scenes where mourners announced their grief and honored the dead through exaggerated, violent and frenzied gestures. The scenes on white-ground lêkythoi accomplished the same ends through new means, namely by focusing on individual mourners and the emotional ways that mourners privately nourished the deceased and their memory. Such scenes combine ritual activity (i.e. dedicating gifts, decorating the grave, pouring libations) with emotional expressions of sadness, which make them more vivid and relatable. The nuances in the characteristics of the mourners indicate a new interest in adding an individual touch to the expression, which might “speak” to a particular moment or variety of sadness that might relate to a potential consumer.
[Show full text]
THE ICONOGRAPHY of ATTIC LATE GEOMETRIC I I POTTERY VOLUME I THEODORA ROMBOS BEDFORD COLLEGE UNIVERSITY of LONDON Thesis S U
THE ICONOGRAPHY OF ATTIC LATE GEOMETRIC I I POTTERY VOLUME I THEODORA ROMBOS BEDFORD COLLEGE UNIVERSITY OF LONDON Thesis submitted for the degree of Ph D March 1987 ■■ UiJL LViF' ■ ProQuest Number: 10098533 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10098533 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT The thesis is an attempt to view the iconography of A ttic vase-painting of the Late Geometric II period, in re latio n to the previous Late Geometric I period as well as the ensuing Early P rotoattic and to establish and in te rp re t the origin and meaning of the various iconographie themes. The main body of the work begins with a detailed look at those iconographie representations which are found in both Late Geometric I and Late Geometric II . The purely dec orative animal representations such as goats, deer and horses are studied f i r s t , while the more complex narrative scenes such as prothesis and chariot representations follow. Chapter II deals only with the Late Geometric II inno vations, for example riders, man and lions, as well as animals, grazing horses, bulls,dogs and fantastic animals such as cen taurs, sphinxes and winged goats.
[Show full text]
Corpus Vasorum Antiquorum
UNION ACADÉMIQUE INTERNATIONALE CORPUS VASORUM ANTIQUORUM ÖSTERREICH GRAZ, ORIGINALSAMMLUNG DES INSTITUTS FÜR ARCHÄOLOGIE DER KARL-FRANZENS-UNIVERSITÄT BAND 1 BEARBEITET VON MARIA CHRISTIDIS, STEPHAN KARL, GABRIELE KOINER, GERDA SCHWARZ WIEN 2014 ISBN 978-3-7001-7529-2 VERLAG DER ÖSTERREICHISCHEN AKADEMIE DER WISSENSCHAFTEN ÖSTERREICH, BAND 6 GRAZ, KARL-FRANZENS-UNIVERSITÄT 1 CORPUS VASORUM ANTIQUORUM: GRAZ UNIVERSITÄT 1 (ÖSTERREICH 6) CORPUS VASORUM 142095_Umschlag.indd 1 11.09.14 13:12 CORPUS VASORUM ANTIQUORUM ÖSTERREICH GRAZ, ORIGINALSAMMLUNG DES INSTITUTS FÜR ARCHÄOLOGIE DER KARL-FRANZENS-UNIVERSITÄT BAND 1 142095_01_Kern.indd 1 11.09.14 14:35 142095_01_Kern.indd 2 11.09.14 14:35 UNION ACADÉMIQUE INTERNATIONALE CORPUS VASORUM ANTIQUORUM ÖSTERREICH GRAZ, ORIGINALSAMMLUNG DES INSTITUTS FÜR ARCHÄOLOGIE DER KARL-FRANZENS-UNIVERSITÄT BAND 1 BEARBEITET VON MARIA CHRISTIDIS, STEPHAN KARL, GABRIELE KOINER, GERDA SCHWARZ WIEN 2014 VERLAG DER ÖSTERREICHISCHEN AKADEMIE DER WISSENSCHAFTEN ÖSTERREICH, BAND 6 GRAZ, KARL-FRANZENS-UNIVERSITÄT 1 142095_01_Kern.indd 3 11.09.14 14:35 Vorgelegt von w. M. ANDREAS PÜLZ in der Sitzung vom 14. Juni 2013 Mit 84 Tafeln, 20 Textabbildungen und 22 Beilagen Herausgegeben von der Österreichischen Akademie der Wissenschaften Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 157-V21 Photographien: © Karl-Franzens-Universität, Graz, Johanna Kraschitzer Zeichnungen: Stephan Karl, Johanna Kraschitzer Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie, detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Diese Publikation wurde einem anonymen, internationalen Peer-Review-Verfahren unterzogen. This publication has undergone the process of anonymous, international peer review. Die verwendete Papiersorte ist aus chlorfrei gebleichtem Zellstoff hergestellt, frei von säurebildenden Bestandteilen und alterungsbeständig.
[Show full text]
Hermeneutik Der Bilder. Beiträge Zur Ikonographie Und
BEIHEFTE ZUM CORPUS VASORUM ANTIQUORUM BAND IV BAYERISCHE AKADEMIE DER WISSENSCHAFTEN Beihefte zum Corpus Vasorum Antiquorum Band IV Herausgegeben von Paul Zanker VERLAG C.H.BECK Stefan Schmidt – John H. Oakley (Hrsg.) HERMENEUTIK DER BILDER Beiträge zur Ikonographie und Interpretation griechischer Vasenmalerei VERLAG C.H.BECK Das Corpus Vasorum Antiquorum wird als Vorhaben der Bayerischen Akademie der Wissenschaften im Rahmen des Akademienprogramms von der Bundesrepublik Deutschland und vom Freistaat Bayern gefördert. ISBN 978-3-406-59321-5 © Verlag C. H. Beck oHG München 2009 Layout, Repro, Satz, Druck und Bindung: Kösel, Krugzell Gedruckt auf säurefreiem, alterungsbeständigem Papier (hergestellt aus chlorfrei gebleichtem Zellstoff) Printed in Germany www. beck.de Inhalt John H. Oakley Preface 7 Stefan Schmidt Hermeneutik der Bilder 9 François Lissarrague Reading Images, Looking at Pictures, and After 15 SEMANTIK Marion Meyer Zur Relevanz bildlicher Darstellungen mythischer Figuren 23 Mark Stansbury-O’Donnell Structural Analysis as an Approach to Defining the Comic 33 Adrian Stähli Nackte Frauen 43 Erika Kunze-Götte Beobachtungen zur Darstellungsweise sepulkraler Thematik 53 auf weißgrundigen Lekythen DISKURSE Klaus Junker Zur Bedeutung der frühesten Mythenbilder 65 Robert F. Sutton, Jr. Lovemaking on Attic Black-figure Pottery: Corpus with Some Conclusions 77 Martina Seifert Norm und Funktion. Kinder auf attischen Bilddarstellungen 93 Victoria Sabetai The Poetics of Maidenhood: Visual Constructs of Womanhood in Vase-Painting 103 Heide Froning Der Vogelkrater ehemals in Malibu – Komödie oder Satyrspiel? 115 Guy Hedreen Ambivalence, Athenian Dionysiac Vase-imagery, and the Discourse on Human Social Evolution 125 FORMATION Athena Tsingarida The Death of Sarpedon: Workshops and Pictorial Experiments 135 Bettina Kreuzer Warum heute noch Malerzuschreibungen? Das Beispiel Lydos 143 T.
[Show full text]