ARCL0017 GREEK ART AND ARCHITECTURE UCL - INSTITUTE OF ARCHAEOLOGY
Coordinator: Dr. Eva Mol Office hours: weekly chat sessions Wed 12-1pm or by appointment between Mon-Wed 9-17pm. Email: [email protected]; Year 2/3 BA Module, 15 credits
Please see the online IoA Student Handbook for instructions on coursework submission, IoA referencing guidelines and marking criteria, as well as UCL policies on penalties for late submission.
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1. OVERVIEW&SCHEDULE
Introduction This module introduces Greek art and architecture in the period 2500-50 BC. In the context of a broad chronological survey, the focus is on three main themes: (1) the relationship between Greek art and society (2) addressing current problems in Greek art history and contemporary society, and (3) extensive training in visual analysis and the different lenses to look at Greek art.
This year, as the course will be taught remotely, it will consist of different modes of online teaching that contain individual creativity, group fun, and lively discussions using famous objects and buildings belonging to the so-called ‘Greek canon’, and lesser known or even excluded object categories that will expand our idea of what Greek art is. Normally, we would go to the British Museum together, and look at all the incredible objects up close. This is not possible for the semester, but that does not mean we cannot discuss or study them. In fact, teaching the module online will provide us with the great opportunity to look beyond the British Museum (or any museum for that matter) and the Classical canon, and discuss together what Greek Art is right now, and how make it more relevant in the future. Through images, videos and 3D models, but also through going outside to study public sculpture in our neighborhoods and our own ceramics at home, we will engage in detailed and in depth object analyses and discussions.
Module Aims On successful completion of this module a student should: -have an overview of the development of Greek art and architecture from 2500-50 BC. -Understand the principles of visual analysis -Be familiar with the major iconographic themes of Greek art -Be able to analyse the major styles of Greek art -Be aware of contemporary issues with Classical art
Learning Outcomes On successful completion of this module students should have developed: -Oral presentation skills -Skills for the critical analysis and interpretation of visual representations -Ability to find, organize, evaluate and communicate evidence and theories in relationship to specific research questions
Teaching Methods Lectures The lectures will consist of pre-recorded sessions containing one or two short lectures of 15-20 minutes each; all will be addressing a specific theme in Greek art. The sessions will be accompanied with a few key objects and 2-4 pieces of reading that need to be studied at home. You need to watch the lectures before the seminar takes place, together with reading the material and studying the objects of the week. ARCL0017
Seminars The seminars will take place at Tuesday’s 9-11. The class will be split in two so you either have the 9-10 or the 10-11 slot. I will assign you, but if you have good reason for one or the other slot, please let me know. During the seminars, we will discuss the lectures, readings, and objects that you study each week and have practical tutorials which go deeper in how to study Greek art and its broader significance. The tutorials will focus on the practical aspects of looking at Greek art and visual analysis. Each student gives one presentation on an object. The last two tutorials will consist of a presentation of the group assignment and an art assignment. More information on these assignments can be found in section 2: assessment. Each session has a ‘seminar preparation’, which will indicate the issues and questions you need to focus on to prepare for the seminar discussion and/or tutorial. In a few instances, you need to post your answers and arguments on the moodle forum before the seminar takes place. All this will be further clarified in part 3 of the handbook.
Methods of Assessment An object analysis containing a written report (50%) and a research essay (50%). These will be described in detail in part 2. Deadline for the object report is Nov 3; deadline for the research essay is Dec 18.
Communications Moodle is the main hub for this course. Important information will be posted in the Announcements section of the Moodle page and you will automatically receive an email notification for these. Weekly chat sessions on Wednesdays 12-1pm on moodle will be scheduled during the course, where you can ask additional questions about the readings, deadlines and other module-related matters For personal queries and appointments, please contact the co-ordinator by email. [email protected]
Useful links for this course, IoA teaching in general, and for rules, penalties, policies and tips: https://www.ucl.ac.uk/archaeology/current-students. The general IoA Handbook can be found here: https://www.ucl.ac.uk/archaeology/current-students/ioa-student-handbook and an IoA Study Skills Guide can be found here: https://www.ucl.ac.uk/archaeology/current-students/ioa-study-skills-guide.
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Week by week summary
Week Date Topic 1 Oct 6 Session 1: Introduction Lecture 1: module overview Lecture 2: The art of looking and Issues in Greek art: whose history? Seminar: Discussion- what is Greek art? Tutorial: Practicing looking and visual analysis 2 Oct 13 Session 2 Greek art in prehistory Lecture 3: Crete and the Cyclades: Early and Middle Bronze Age Art Lecture 4: The art of Troy, Mycenae, and the Iliad Seminar: Discussion- The art of Troy: myth, matter and reality 3 Oct 19 Session 3 (lectures 5 and 6): How dark was the dark age? Lecture 5. Geometric to Orientalising Lecture 6. Early Archaic Architecture and sculpture Seminar: Greek Art Tutorial: practicing multisensorial description: Ekphrasis 4 Oct 22 Session 4 (lecture 7) Vase painting in context Lecture 7. Making and reading Greek vases Seminar: discussion on Greek art and the symposium 5 Oct 27 Session 5 (lecture 8) The Greeks and the others Lecture 8. The Greeks and the others Seminar: Greek Art Tutorial: student presentations Nov 3 Deadline object report READING WEEK NO CLASS 6 Nov 10 Session 6 (lectures 9 and 10) Classical Greece: the art of democracy Lecture 9. Art in Classical Greece after the Persian Wars 7 Lecture 10. The Parthenon and the Elgin Marbles Seminar: discussion- losing one’s Marbles: looting, restitution, and museums Nov 17 Session 7 (lectures 11 and 12): Living and dying Classical Greece Lecture 11. The Greek house 8 Lecture 12. The art of death Seminar: discussion on the Greek Classical house and burial customs as reflection of society Nov 24 Session 8 (lectures 13 and 14) Late Classical Greece into Hellenism Lecture 13. Royal power 9 Lecture 14. The first female nude and the ideal body Seminar: The nereid monument and the female nude. Discussion on group assignment Dec 1 Session 9 (lectures 15 and 16) The Hellenistic world: royal changes Lecture 15. The art of the monarchs from to Alexandria to Commagene 10 Lecture 16. Hellenistic decorum: the baroque, the bad and the ugly Seminar: discussion on changes in the Hellenistic world; tutorial on stylistic analysis Dec 8 Session 10: The end of Greek art? 11 Seminar: Final discussion on Greek art and Architecture, Joint tutorial group assignment classical past and current issues. Dec 18 Deadline research essay
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WORKLOAD There will be 16 pre-recorded lectures for this module and a 1 hour seminar each week which take up 20 hours. Students will be expected to undertake around 60 hours of reading and preparing for the module, plus 70 hours preparing for and producing the assessed work and assignments. This adds up to a total workload of 150 hours for the module.
20 hours Staff-led teaching sessions (lectures, seminars, tutorials, discussion-board sessions) 60 hours Self-guided session preparation (reading, listening, note-taking and online activities), about 6 hours a week 30 hours Reading for, and writing, object essay 40 hours Reading for, and writing, the research essay
2. ASSIGNMENTS AND ASSESSMENT Each assignment and possible approaches to it will be discussed in class, in advance of the submission deadline. You will receive feedback on your written coursework via Moodle, and have the opportunity to discuss your marks and feedback with the coordinator in their office hours. For more details see the ‘Assessment’ section on Moodle. The marking criteria and IoA writing guidelines are useful guides when writing your essay. Penalties for late submission: see guidance in UCL Student Handbook. https://www.ucl.ac.uk/archaeology/current-students/ioa-student-handbook Aside from the weekly readings and seminar discussions, this module has three assignments, two of which are assessed for the final mark, and one meant to give you different way of applying your knowledge on – and thinking about- ancient Greek art and architecture. Each assignment is discussed below.
1. Visual Object Analysis – (50% total mark): written ‘object analysis form’ 2000 words 2. Research Paper – (50% total mark): essay assignment 2000 words 3. Group Assignment: compulsory but does not count for final grade. Group project is to make an artwork together about the relation between the Greek past and current issues.
1. Visual Object Analysis. The assignment is in two parts: a presentation and a written form based on the presentation for which you will be assessed. This means the presentation is a form of practice. You have to select an object from the object list (on moodle) that you will analyse. a. Presentation: The assignment consists of a three slides, 5-10 minute presentation, performing visual analysis on an object the way it is also trained in class. This means that you: 1) do an Ekphrastic description (make the audience envision the object as if it were physically present including colour, texture, sound) in the first slide. 2) The second slide will contain concise information on the date, style, iconography, composition and the function and provenance (as trained). 3) The third slide of the presentation will answer the question: what does this object tell us about Greek culture? The presentations will take place during the seminars. ARCL0017
b. Written analysis (assessed)The written part of the object analysis is based on your presentation, but then supplied with references. It needs to contain the description, followed by a formal, iconographic and contextual analysis (following Neer and Munsterberg). In the report you will put in writing what you have presented, with references and citations. You will engage with the three basics of visual analysis: what do we see, how do we know, and why do we care? These questions contain basics of visual analysis that will be discussed and practiced during class, and builds off the skills of visual analysis that are one of the module’s objectives. The word limit on written object analysis is 2000 words. Of course, any additional form of Ekphrastic creativity is appreciated!
2. Research essay (assessed). The research essay is the final assignment for this module. All the acquired skills in class readings, discussions and the other assignments will help in this assignment, which aims at a contextual and critical discussion on research themes relevant to Greek art and Architecture. A list of topics will be provided on moodle, together with a number of primary online bibliographical sources will be supplied; the student has to try to add more. Students are allowed and encouraged to design their own research topics, which will be positively reviewed during marking in terms of originality and independent thinking. The word limit for the essay is 2000 words. 3. Group assignment: Classical art and current issues (not assessed) This assignment will make an appeal to your creative skills! During class and your readings, you have come across how Greek art has been made relevant continuously during history, up until today. Greek art remains relevant because people constantly re-interpret, ‘remake’ and reflect upon it from a specific cultural or political context. Classical art therefore, is a powerful visual way of advocating for change. There is no way better to understand this than to try to create these links between past and present ourselves. Therefore, for the final class in groups of two/three people, every group an ‘artwork’ that shows the continuous connection between Greek art and the modern world. How can Greek art be used to point to current issues? (the ideal body/environmental issues/black lives matter/covid/social justice/misogyny- or whatever is bothering you and Greek art can form a visual statement. Judging will be based on the creativity of your idea, not on your artistic skill. You can make a drawing, a comic, you can paint, Photoshop or make a sculpture, you can point to any modern topics, themes, tensions or humor: as long as it becomes visually clear how this past has significance in today’s world, relates to social or political certain issues etc. Together we will make a small virtual exhibition in class and discuss the works and the contemporary and perhaps the eternal significance of Troy and the past.
Module Assessment Object analysis (50%) The assessment of the object analysis will contain a written analysis based on the presentation in a short form in which you analyse the object with peer-reviewed references and citations. The report should be no more words than 2000 and has to be submitted to moodle turnitin Nov 3.
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Research essay (50%) Examples of essay questions, useful literature per seminar can be found in chapter 8. Your essay should be 2000 words. The lower limit is a guideline for expected length; the upper limit is strict, and UCL penalties apply for overlength essays. The following should not be included in the word- count: bibliography, appendices, and tables, graphs and illustrations and their captions. The paper has to be submitted to moodle turnitin Dec 18.
If you have problems, please email the IoA Turnitin Advisers on [email protected] explaining the nature of the problem and the exact module and assignment involved. Please be sure to email the Turnitin Advisers if technical problems prevent you from uploading work in time to meet a submission deadline - even if you do not obtain an immediate response from one of the Advisers, they will be able to notify the relevant Module Coordinator that you had attempted to submit the work before the deadline.
3. RESOURCES AND PREPARATION FOR CLASS
Preparation for class You are expected to do the essential readings, watch the pre-recorded lectures and complete any online activities if indicated. Next to this, as this is a course on art, one or two objects should be studied beforehand as homework as well. These are all indicated below in the table. Completing the readings and object-study is essential for your effective participation in the activities and discussions that we will do, and it will greatly enhance your understanding of the material covered. Further readings are provided via the online-reading list on moodle for you to get a sense of the range of current work on a given topic and for you to draw upon for your assessments. Online reading list: https://rl.talis.com/3/ucl/lists/2B19DB2D-A9FF-E61A-6BAF- DD471479B45B.html?lang=en-US&login=1
Textbooks: The main textbook we will be using is Neer, 2018, Art and Archaeology of the Greek World (2nd edition), Thames&Hudson. If you want the textbook yourself, it can be ordered online, but it is quite expensive (£45 at Waterstones) and a free digital copy will be available through the UCL online repository. For the visual analysis, we will make use of Munsterberg ‘writing about art’, an online resource indicated in weekly readings.
Other good introductory texts and handbooks: Osborne, R., Archaic and Classical Greek Art Smith, J., and D., Plantzos, (eds.), 2012, A Companion to Greek Art, Blackwell Companion Beard and Henderson, 2001, Classical Art from Greece to Rome Another book: Stansbury-O’Donnell, M. 2011. Looking at Greek Art. Cambridge: Cambridge University Press, except for one chapter, this is not used in class as it is not available online, but does give a lot of information on visual analysis of Greek art.
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SESSION PREPARATION Session 1 Introduction Lecture 1: Introduction to the module Lecture 2: The art of looking and Issues with Greek art: whose history and why do we care? Next to an introduction to the module we will discuss the central premise of the course. What is Greek art and why do we study it? How did Greek art influence us through the years and why would it still be relevant today? Readings -Neer, 2019, Art& Archaeology of the Greek World, introduction 11-19 -Read Munsterberg section on ‘Visual Description’ (1 page) https://writingaboutart.org/pages/visualdesc.html Watch https://youtu.be/TkwUCUwt3Rs ‘White at the Museum’ Object See moodle for the objects Seminar After you have listened to the lecture, think about your personal relation to Greek art, preparation how have you learned about it (museums, school trips or lessons, books, which movies) and what impact did that make. Think of specific objects that you know, or like, or strike your interest somehow. What histories do Greek art objects tell? Look at the objects on moodle and connect them to the readings.
PART I: CONTEXTUALISING PRECLASSICAL GREEK ART
Session 2 (lecture 3 and 4): Greek art in prehistory
Lecture 3. Crete and the Cyclades: Early and Middle Bronze Age The history of Greek art in the Mediterranean starts in prehistory with the discovery of Cycladic figurines and that of Crete and the Minoans with their palaces and wall paintings. What are the cultures that produced this, and why do we start here? Lecture 4. The art of Troy, Mycenae, and the Iliad After a rapid economic growth in the Late Bronze Age we see the rise of an Aegean society; with Greek speaking people writing in Linear B, in close contact with Minoan Crete, Anatolia, the Levant and Egypt. This society, also referred to as ‘palace society’ is called Mycenaean, after the important site of Mycenae. They are of course, most famous in history for their involvement with the mythical war against the Troy. Readings -Neer Chapter 1 pp 20-39; Neer pp 58-70 -Cline, E., 2013, A very short introduction to the Trojan War, chapter 3: did Homer exist and is the Iliad accurate? -Grethlein, J., 2008, Memory and material objects in the Iliad and the Odyssey, Journal of Hellenic Studies 128 (2008) 27-51 Object Minos Ring Chariot wall painting scene from Pylos London Abduction Krater https://www.britishmuseum.org/collection/object/G_1899-0219-1 Preparation What are the main arguments for and against the Trojan war actually have taken place? seminar How do we see this reflected in material culture? What does art tell us about how Troy is made significant? Post your arguments in no more than 150 words on the moodle forum before the seminar
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Lecture 5. Geometric to Orientalising After the downfall of the Mycenaean and Minoan Palace societies, the Greek world is said to have fallen into a “Dark Age’. Although the Mediterranean connectivity is not as intensive as it was during the Late Bronze Age, many things happened in art and architecture during this period that becomes foundational for later Greek art and society. At the end, we see an increase in cultural contact with the east and the rise of so-called Orientalising Art. Lecture 6. Early Archaic Architecture and sculpture The Dark Age was essential for the birth of two specific Greek innovations in art: the Greek temple and the Kouros statue. This lecture we will look at these developments and where they emerged, both in terms of cultural context and the social context of religion. Readings -Neer chapter 3 (pp74-83; 94-97) -Neer chapter 5 (pp126-140); Neer chapter 6 (pp 156-165) -Read Munsterberg ‘Visual Description- Ekphrasis’ (1 page) Object Heroon Lefkandi Kouros (New York Kouros), c. 590–580 B.C.E (watch if you like: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek- art/daedalic-archaic/v/kouros-youth-archaic-greek-c-590-580-b-c-e) Seminar for discussion: how important are contacts with the eastern Mediterranean in the preparation development of early Greek art? How did the Greek temple emerge? What is a kouros statue? Tutorial will be and exercise on Ekphrasis and multisensorial art description Read Munsterberg and watch: https://www.youtube.com/watch?v=-dhgEaVkD-U
Session 4 (lectures 7 and 8) Vases and vase paintings in context Lecture 7. Looking at Greek vases Normally in archaeology, we call the ceramics ‘pottery’, but when we are talking about the black- and red painted wares from Greece they are suddenly called vases. This has a lot to do with the art historical context in which they were studied. How do we bring the two professions together to regard this remarkable category of material culture? In this lecture we will study the history of Greek vase studies and the way we can look at them to learn about Greek culture. On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? We can learn a lot from looking at vases about the Greek world, such as about religion, politics, humour, gender and or myth. The use context is important: the context in the depictions, but also the context of their use, such as for instance the symposium or festivals. Reading -Neer 211-215 -Stansbury-O ‘Donnell, description and visual analysis (ch. 2 pp 20-33), looking at Greek art, Cambridge, Cambridge University /Munsterberg iconographical analysis (1 page) (https://writingaboutart.org/pages/iconographicanalysis.html) -Miller, M. 1999, Reexamining Transvestism in Archaic and Classical Athens: The Zewadski Stamnos, American Journal of Archaeology 103.2, 223 – 253 -Kathleen M. Lynch, A Companion to Greek art ch. 27: Lynch, Drinking and Dining Watch https://www.khanacademy.org/humanities/ancient-art-civilizations/greekart/greek- pottery/v/ancient-greek-vase-black-figure-technique Object The Zewadski Stamnos (Miller) Neck Amphora (515-510 BC). Berlin Painter https://sketchfab.com/3d-models/197016- neck-amphora-0bb2525bdd734bf69d5a7b2b051928ad ARCL0017
Seminar Prepare to discuss what we can learn about the Greeks identity and social relationships preparation through images. Is ‘transvestism’ a term applicable to the ancient past? How does the symposium contextualise such objects? Bring food and drinks to the seminar, particularly glasses and plates with imagery. We will have an online symposium! Session 5 (lectures 8) The Greeks and the others Lecture 8. The Greeks and the Others The Greek world reaches beyond Athens. Many colonies were founded in the Archaic period (Ancient Greek: ἀποικία: apoikia, lit. 'home away from home') that evolved into strong city-states and became independent, for instance in the Ionian Sea, Thracia and Macedonia, stretching all the way to the Black sea. How did this cultural interaction influence art? And how did the Greeks look at the ‘Otherr’? The Other in Greek art was diverse: it could be mythical (monsters and otherworldly creatures such as centaurs and amazons), but also real, such as other cultures that were called barbarians. At the end of the Archaic period one big ‘Other’ emerged the Persians, that would redefine Greek cultural identity and the future of Greek society.
Reading Neer chapter 8 (pp216-222); Neer chapter 10, Paestum, (pp260-270) Object Your own object Seminar For the tutorial: Read assignment 1 part A, choose an object from the list and prepare preparation your 5-10 min. presentation. Discussion (if there is time left) How is the ‘Other’ represented in the objects to study this week? What does this say about Greek self-representation? What can we say about the interactions between the Greek colonies and the environment through visual culture?
DEADLINE NOV 3- Submit object report
PART II: ART AND SOCIETY IN CLASSICAL GREECE 480-323 BC Session 6 (lectures 9 and 10) Classical Greece: the art of democracy Lecture 9. Art in Classical Greece after the Persian Wars The Greek world changed profoundly after the Persian wars, so much, we now look back at it and call it ‘Classical’ Greece. Democracy, cities, architectural changes, but classical is for a great part defined on what happens in sculpture. This lecture will focus on the Athenian agora and study how they copy with loss, memory, and the rebuilding of a city. Lecture 10. The Parthenon and the Elgin Marbles The Parthenon is a history in itself: a treasury and symbol of Athenian democracy, an architectural world wonder, a marvel of stonecutter’s art, its reliefs are considered a zenith of ‘Classical’ Art and its survival and preservation a continuous issue. The friezes, metopes and pediments we will discuss in the Museum, in this lecture we will discuss the historical context and the afterlife of the Parthenon. Reading -Neer chapter 11 (274-278); Neer chapter 11 (278-297) -Kousser, R., 2009, Destruction and Memory on the Athenian Acropolis, The Art Bulletin, Vol. 91, No. 3 (September 2009), pp. 263-282 (online) -Hamilakis, Y., 2007, chapter 7: Nostalgia for the whole, The Parthenon (or Elgin) Marbles,The Nation and Its Ruins : Antiquity, Archaeology, and National Imagination in Greece, Oxford, Oxford University Press ARCL0017
Object Acropolis and Parthenon 3D-objects https://sketchfab.com/3d-models/lapiths-centaurs-metopes-of-the-parthenon- a418f2c5aab54ec89a45d1a29531a4f3 https://sketchfab.com/3d-models/peplos-from-parthenon-athens-frieze3d4aw18- 8ba6e508804c46668abce65c1553cc7f https://sketchfab.com/3d-models/east-parthenon-frieze-blocks-iii-v- e6775d43c71a4c41a07c813d8efdfdb1 Seminar Discussion; the Acropolis in context. Taking the lectures and readings into account: preparation should the Elgin Marbles return? Why or why not? What can we as archaeologists and art historians add to the discussion? Post your arguments (not more than 150 words) on the moodle forum before the seminar starts (deadline Nov 9- 4pm). Session 7 (lectures 11 and 12): Life and death in Classical Greece Lecture 11. The Greek house This session will be about everyday life in Greece, focusing on the Greek house and domestic assemblages, and the architecture of living. Lecture 12. The art of death Why does funerary art play such an important role in the history of Greek art? To what extent is funerary art concerned with social display and to what extent a meditation on death? We will discuss different types of funerary monuments and their iconography Reading -Cahill, N., 2002. Chapter 4: “The Houses Organized.” Household and City Organization at Olynthus, by NICHOLAS CAHILL, Yale University Press, 2002, pp. 148–193 -Neer ch. 12 (pp. 306-9) -Arrington, N., 2018. Touch and Remembrance in Greek Funerary Art,The Art Bulletin, 100:3, 7-27 Object Ground plan house A vii 4, house of the Tiled Prothyron (https://www.greecehighdefinition.com/blog/2018/1/13/ancient-olynthus-greek- home-3d-reconstruction) Attic funerary relief for Philonoe Preparation Study the ground plans and the houses carefully; what do we see when we compare the for seminar social life within the house with the tombs (in terms of social context -gender, children, social classes- and in terms of archaeological context)?
Session 8 (lectures 13 and 14) Late Classical Greece into Hellenism Lecture 13. Art in Late Classical Greece: Terracottas, tombs and the iconography of Power After the convulsions of the late fifth century, the world of the poleis began to crumble. What happens in the Late Classical period? Social unrest and even revolution, war, new foreign cults, exports and travel on a larger scale than ever before, prosperity in general and conspicuous wealth of a few—these describe Greece in the fourth century BC, ending in the Macedonian triumph over Greece. Lecture 14. The first female nude and the ideal body The fourth century BC is one of Great Masters and individual sculptors, such as Praxiteles and Lyssipos. Each helped to shape a new view of the body, gender and politics. Especially with Praxiteles’ Aphrodite at Knidos had an enormous impact on the Greek world. Reading -Neer chapter 9 (pp 237-240) -Childs, W. A.P. 2018. Ch. 6: Iconography. Greek Art and Aesthetics in the Fourth Century B.C., Princeton University Press, Princeton; Oxford, 2018, pp. 229–262 ARCL0017
-Childs, W. A.P. 2018. Ch. 5B: Form and Presentation: Architectural Sculpture.” Greek Art and Aesthetics in the Fourth Century B.C., Princeton University Press, Princeton; Oxford, pp. 205–228 Watch If you like: https://smarthistory.org/the-case-for-nudity/ Object Venus of Knidos Nereid Monument (in four 3D-models): 1.https://sketchfab.com/3d-models/nereid-monument-b684b29fda2f45ea83e1309998ea051c 2.https://sketchfab.com/3d-models/nereid-frieze-599f8a40df514af5b34fe800f5d0056a 3.https://sketchfab.com/3d-models/nereid-statue-de907662127f4c5d90b12719094dc1ca 4.https://sketchfab.com/3d-models/nereid-monument-lion bb41d9410d134d82b11f6366990adc48 Seminar Describe the Nereid monument and compare it to other classical sculpture and Preparation architecture, what do you notice in terms of style and composition? After further studying the statue of Venus and the readings, how much do you think are we still affected by the bodies created in Late Classical Greece? How do museums help shape this image? Wherever you are, go outside study gender representation in the public space: how many male vs female figures do you see, what do they look like? We will also discuss the group assignment, please read the handbook.
PART III: THE HELLENISTIC WORLD Session 9 (lectures 15 and 16) The Hellenistic world: royal changes Lecture 15. The art of the monarchs from Alexandria to Commagene The major political change from the classical to the Hellenistic worlds was the displacement of poleis as the primary political units by kingdoms. The cultural changes are vast, we witness a rapid and increased spread of ‘Greek’ styles, artefacts and culture, influenced by all the new kingdoms conquered by Alexander the Great. This lecture explores the impact of the rise on monarchy on Hellenistic art and the spread and appropriation of Greek culture. Lecture 16. Hellenistic decorum: the baroque, the bad and the ugly Profound changes can be observed in sculpture. Whereas Archaic and Classical period statues and reliefs had been either commemorative or religious, it acquired a whole new function as decoration in houses and gardens. In Asia, notably in Pergamon and Rhodes, a new sculptural style emerged displaying dramatic emotions, movement and exaggerated postures that in modern scholarship is called ‘baroque’ style. Reading -Neer ch. 14 (pp 363-367; 370-378); Neer ch. 14 (379-386): Pergamon -Munsterberg, stylistic analysis (also personal and period style 1- page) https://writingaboutart.org/pages/stylisticanalysis.html -Llorca, J.G., 2019, Trade and Cultural Contacts Between China and the Hellenistic World Through The Silk Road, Viaggiatori, pp.139-190 -Stewart, A., 2006, Hellenistic Art, two dozen innovations, in G. Bugh (ed.) The Cambridge Companion to the Hellenistic World, Cambridge, Cambridge University Press (online) Object Sampul tapestry, Khotan Ptolemy I Busts BM &Louvre Pergamon Altar- http://3d.smb.museum/pergamonaltar/ Laocoon:https://sketchfab.com/3d-models/laocoon 5ff1597995504443b422e06003a6d94f Seminar Think about the following two things for the seminar. 1. What Hellenistic elements do preparation you see in the Sampul tapestry and the bust of Ptolemy Soter? 2. Use Pergamon and the ARCL0017
Laocoon to think about what happens in Greek sculpture during the Hellenistic period? Why do we see these changes?
Session 10: The end of Greek art? Reading No reading
Object No objects, work on presentation of your artwork Seminar JOINT seminar group assignment; Virtual exhibition on Ancient art&Current issues preparation Final - Discussion: does Greek art still matter?
ESSAY DEADLINE DEC 18 Submit essay