Fragments of an Early Attic Kouros from the Athenian Agora'
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A Kouros Head in Kansas City
A KOUROS HEAD IN KANSAS CITY (PLATES 96-100) SINCE my first published article on Greek sculpture, written forty years ago, dealt largely with Archaic material, and since that article was written at the request of Oscar Broneer, it seems appropriate to present him with this new'foray in the field of Archaic sculpture in honor of his eightieth birthday. An excellent marble head of the Kouros type in the William Rockhill Nelson Gallery of Art in Kansas City has thus far eluded the notice to which' it is entitled 2 (Pls. 96-99). Of island marble, it measures seven and one-half inches in height and is in remarkably good condition despite losses to the chin, the tip of the nose, and a section of the hair above the right forehead. In determining the development of later Archaic sculpture, three features are of particular importance: the hair, the eyes and the mouth. The Kansas City head defines each of these in an unusual way and combines them in a manner that is quite unique. The hair over the forehead is represented in two rows of tight formal curls, carefully chiseled, but still retaining traces of the square outlines from which they were formed. The curls briefly feed back to a narrow fillet, either in a single ridge from each spiral in the lower row or in paired ridges from each of the upper (P1. 98, a). On top of the head, and behind the fillet, these ridges are patterned uniquely. They begin with a small loop over the center of the forehead and, in concentric arcs, extend across the crown from side to side, winding up over the base of the skull in a broadly oval line (Pls. -
1 BRITISH SCHOOL at ATHENS 47Th Annual Course For
1 BRITISH SCHOOL AT ATHENS 47th Annual Course for Undergraduates The Archaeology and Topography of Ancient Greece 18th August – 7th September 2019 PROVISIONAL ITINERARY DATE DAY TIME SITE AUGUST 08.30-23.30 Arrival at the BSA Sunday 18 1 20.00 Informal dinner Monday 19 2 08.00-09.30 Breakfast 09.30-10.15 Introductory Session in Finlay Common Room 10.15-11.00 Library and Archive Tour 11.00-11.30 Coffee Break in Finlay 11.30-13.00 Key Themes I: The history of archaeology and the archaeology of history in Greece (Museum) 13.00-14.00 Buffet Lunch in Dining Room 14.00-15.30 Key Themes II: Ways of approaching archaeological sites (Museum) 15.30-17.00 Key Themes III: Archaeological Science (Fitch) 19.30 BBQ on the Finlay Terrace Tuesday 20 3 07.30-08.30 Breakfast 08.30 The Acropolis (including the interior of the Parthenon) (Lunch – self bought) The south Slope of the Acropolis Wednesday 21 4 07.30-08.30 Breakfast 08.30 The Athenian Agora and Museum The Areopagos, Philopappos Hill, The Pnyx (Lunch – self bought) The Acropolis Museum Thursday 22 5 07.30-08.30 Breakfast 08.30 Kerameikos Library of Hadrian (Lunch – self bought) Roman Agora, Little Metropolis, Arch of Hadrian, Temple of Olympian Zeus Friday 23 6 07.30-08.30 Breakfast 08.30 The National Archaeological Museum I (Mycenaean gallery, Pottery collection) (Lunch – self bought) The National Archaeological Museum II (Sculpture collection) Saturday 24 7 08.00-09.00 Breakfast 09.00 Piraeus Museum FREE AFTERNOON Sunday 25 8 FREE DAY 2 Monday 26 9 07.30-08.30 Breakfast 08.30 BSA Museum Cycladic -
GRECIAN ODYSSEY 9 Or 12 Days | Greece | Extension Includes Turkey
Watch videos, read reviews and enroll on your teacher’s Tour Website eftours.com/ This is also your tour number GRECIAN ODYSSEY 9 or 12 days | Greece | Extension includes Turkey Discover a remarkable era in human history, one that saw key advances in architecture, politics and philosophy. In Ancient Greece, mortals mingled with gods; see where they communed, from Delphi to Athens to the Temple of Poseidon in Cape Sounion. Meanwhile, well-preserved archaeological sites like Epidaurus and Mycenae bring the Ancient Greeks’ daily life into focus. EVERYTHING YOU GET: Full-time Tour Director Sightseeing: 6 sightseeing tours led by expert, licensed local guides; 1 walking tour Entrances: Acropolis; Acropolis Museum; Delphi site; Delphi Museum; Olympia site; Olympia Museum; Epidaurus; Mycenae; Temple of Poseidon weShare, our project-based learning program that combines an online platform with global experiences. All of the details are covered: Round-trip flights on major carriers; Comfortable motorcoach; 3-day Greek island cruise with extension (Cruise staff gratuities included); 7 overnight stays in hotels with private bathrooms; 3 nights cabin accommodations with extension; European breakfast and dinner daily (3 meals daily during cruise extension) Anyone can see the world. YOU’RE GOING TO Delphi EXPERIENCE IT. Patras (1) Athens (5) Olympia Mycenae Cape Sounion Mykonos Argolida (1) Kusadasi Hydra Epidaurus Patmos As you can see, your EF tour includes visits to the places Santorini you’ve learned about in school. That’s a given. But it’s so Cruise (3) much more than that. Immersing yourself in new cultures— surrounded by the people, the language, the food, the way of life—creates inspirational moments that can’t be listed in an Crete itinerary. -
Classics in Greece J-Term Flyer
WANG CENTER WANG Ancient Greece is often held in reverential awe, and Excursions around Greece to places including: praised for its iconic values, contributions, • Epidaurus: a famous center of healing in antiquity and site and innovations. However, much of what has been of one of the best preserved Greek theaters in the world considered iconic is, in fact, the product of a • Piraeus, Cape Sounion, and the Battle site of Marathon western classical tradition that re-imagines and re- • Eleusis, Corinth, Acrocorinth, and Corinth Canal fashions its ancient past to meet its present • Nauplion, a charming seaside city and the first capital of AWAY STUDY J-TERM needs. In this course, you will explore the romance modern Greece – and the realities – of ancient Greece in Greece. • Mycene and Tiryns, the legendary homes of Agamemnon and the hero Herakles Explore Athens, the birthplace of democracy, and • Ancient Olympia: where the original Olympics were the ruins of Mycenae, from which the Trojan War celebrated. was launched. Examine the evidence for yourself • The mountain monastery, and UNESCO World Heritage in Greece’s many museums and archeological site, of Hosios Loukas. sites. Learn how the western classical heritage has • Delphi: the oracle of the ancient world. reinvented itself over time, and re-envision what • Daytrip to Hydra island (optional). this tradition may yet have to say that is relevant, fresh, and contemporary. Highlights include exploring Athens, its environments, and the Peloponnesus with expert faculty. Scheduled site visits include: • Acropolis and Parthenon • Pnyx, Athenian Agora, and Library of Hadrian • Temples of Olympian Zeus, Hephaistus, and Asclepius • Theaters of Dionysus and Odeon of Herodes Atticus • Plaka and Monastiraki flea market • Lycebettus Hill, and the neighborhoods of Athens • National Archeological, New Acropolis, and Benaki museums “Eternal Summer Gilds Them Yet”: The Literature, Legend, and Legacy of Ancient Greece GREECE Educating to achieve a just, healthy, sustainable and peaceful world, both locally and globally. -
The Origins of the Kouros
THE ORIGINS OF THE KOUROS By REBECCA ANN DUNHAM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Rebecca Ann Dunham This document is dedicated to my mom. TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... vi ABSTRACT.........................................................................................................................x CHAPTER 1 DEFINITION OF THE KOUROS TYPE ....................................................................1 Pose...............................................................................................................................2 Size and material...........................................................................................................2 Nudity ...........................................................................................................................3 Body Shape and Treatment of Musculature .................................................................3 Execution ......................................................................................................................4 Function ........................................................................................................................5 Provenances ..................................................................................................................7 -
Multiple Readings of the Mining Landscape in Lavreotiki (SE Correspondence To: Attica, Greece) Maria Kayafa Maria [email protected]
Volume 53 BGSG Research Paper Multiple readings of the mining landscape in Lavreotiki (SE Correspondence to: Attica, Greece) Maria Kayafa [email protected] DOI number: Maria Kayafa (1) http://dx.doi.org/10.126 81/bgsg.18639 (1) Environmental Education Centre at Lavrio, Greece [email protected] Keywords: Lavreotiki, landscape, geology, mining, Readers of poetry see the factory-village, and the railway, archaeology, heritage and fancy that the poetry of the landscape is broken up by these; for these works of art are not yet consecrated in their reading; Citation: Kayafa Maria (2018), but the poet sees them fall within the great Order Multiple readings of the not less than the beehive, or the spider's geometrical web. mining landscape in Lavreotiki (se Attica, (R.W. Emerson, Essay I, 1844) Greece). Bulletin Geological Society of Greece, 53, 99-124. Abstract Publication History: Received: 30/09/2018 From the widespread mineral exploitation of the past to the protected territory Accepted: 12/10/2018 Accepted article online: of the Sounion National Park in the present, the region of Lavreotiki has 12/10/2018 diachronically been at the centre of human activities and experiences. The Editor wishes to thank Nowadays, the landscape of the region, as defined by hills, valleys and the Prof. M. Stamatakis, Prof. Hara Drinia and Ms Erietta coastline at the SE of Attica, includes a variety of land uses, such as settlements Vlachou for editorial (with prevailing traditional or contemporary styles), isolated properties (legal assistance. or illegal, inland or by the coast), agricultural lands (mainly vineyards and olive ©2018. -
Of Kouroi and Korai: Attic Variety Brunilde S
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1982 Of Kouroi and Korai: Attic Variety Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/arch_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde. 1982. "Of Kouroi and Korai: Attic Variety." Hesperia Supplements 20: 118-127+209. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/arch_pubs/180 For more information, please contact [email protected]. OF KOUROI AND KORAI-ATTIC VARIETY (PLATE 17) I HAVE LEARNED a great deal from Homer A. Thompson, through the years of my acquaintance with him, and two of his teachings stand out with clarity in my mind: to pay attention even to minute details, and to rise above them to view the greater whole. The ensuing speculation and theories may not always be correct, but as long as they are revised whenever new and contradictory evidence becomes available, the attempt should be made. I hope that these lines, stemming from just such an approach, may not be amiss as a modest offering. The minute details to be considered here are a set of swol- len ears and a mantle. The larger picture concerns the possible inferences on the mean- ing of kouroi and korai in Archaic Athens.1 The so-called Rayet Head (P1. -
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All Female Youth Sculptures Were Called Kore
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All female youth sculptures were called Kore. • Made of marble • Would have been painted with bright colors and decorated. • Archaic smile-corners of her mouth slightly lifted. • Hair is carved down the back showing Egyptian influence. • Would have been found in and around temples holding an offering in her outstretched hand. • The Kore were always clothed. • Not meant to house the soul or KA at death but may have been used as graver markers. • Represented the ideal female youth. • Flesh would have been painted lighter than the male kouros. Kouros 660 BC to 590 BC • 1st appearance coincides with trade with Egypt. • Usually a votive statue (representing a hero or athlete) or a grave marker. • Represented the god Apollo. • All male statues were called kouros and were nude. • Represented the ideal male youth. • Flesh would have been painted brown or red. classical The Discus Thrower by Myron • 480-440 BC • Roman copy of a Greek sculpture. • Shows an athlete in motion performing the Olympic event discus throwing. • Athletes performed nude • Romans copied all the Greek sculptures. Venus de Milo 150 BC • Classical Period • Sculpted by Alexandros of Antioch • Statue of Aphrodite (Venus) • Located at the Louvre museum in Paris • Found on the island of Milos in 1820 • Milos means “apple” in Greek • Would have been painted and adorned with jewelry • Made of marble • 6’8 feet tall • The arms were lost in transport. • Her face is neutral and drapery is realistic • Known for perfect graceful proportions Doryphorus (the spear bearer) 450 BC-415 BC • Polykleitos of Argos • Bronze • Known for his sculptures of young athletes • Known only through Roman copies • Perfect proportions • Idealized • Classical period • Contrapposto stance Hellenistic The Seated Boxer 225 BC • Votive statue- commemorated a known boxer. -
Focus on Greek Sculpture
Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life. -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus. -
Geometric & Archaic Greek
GEOMETRIC & ARCHAIC GREEK GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Can be classified into the following categories: Geometric Period ca. 900-700 B.C.E. Orientalizing Period ca. 725-600 B.C.E. Archaic Period ca. 625-480 B.C.E. --- Greeks defeat Persians 480-479 BCE --- Early Classical Period ca. 480-450 B.C.E. High Classical Period ca. 450-400 B.C.E. Late Classical Period ca. 400-330 B.C.E. Hellenistic Period ca. 330-31 B.C.E. GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Mesopotamian = Worship Egyptian = Afterlife Greek = Humanism GEOMETRIC & ARCHAIC GREECE The Geometric Period The beginning of Greek art is found in painted pottery and small scale sculpture. Artists established different categories of shapes of ceramic vessels- most important was the amphora - two- handled vase used to carry wine and oil Around 800 BC, pottery began to move away from purely non-objective designs - ornamental figures. Dipylon Vase was a grave monument - bottom has holes through which liquid offerings filtered down to the dead below- done in remembrance rather than to appease the soul of the dead. Geometric Krater from the Dyplon Cemetery Athens, Greece, ca. 740 BC GEOMETRIC & ARCHAIC GREECE The Geometric Period The vase functions as a grave marker depicting the funeral procession of an obviously well respected individual. The magnitude of his funeral procession speaks to the wealth and position of the deceased family in the community. Contains no reference to an afterlife The nature of the ornamentation of these early works has led art historians to designate these as GEOMETRIC. (all empty spaces are filled with circles and M-shaped ornament. -
Kouroi and Statistics
FORUM ARTICLE Kouroi and Statistics JANE B. CARTER AND LAURA J. STEINBERG Abstract male figures in both Greece and Egypt face forward, In a well-known series of articles, Eleanor Guralnick hold their arms alongside their thighs, and advance undertook statistical studies to compare the proportions the left leg. These factors have suggested that Greeks of Greek archaic kouroi with one another and with the learned sculptural techniques from the Egyptians; if so, proportions of the Egyptian second canon; she concluded one could expect to find Egyptian proportions in early that Greek sculptors used the Egyptian canon sporadically for proportioning kouroi during most of the sixth century Greek statues. Eleanor Guralnick’s statistical studies of B.C.E. Here, we examine the results of Guralnick’s analy- kouroi and korai are, in part, an attempt to demon- ses against the backdrop of current statistical method. strate this hypothesis.1 Guralnick concluded that “at While we do not believe that her analyses convincingly least through the third quarter of the sixth century demonstrate any Greek use of the Egyptian system, we Greek sculptors made conscious use of the contempo- agree that the analyses do distribute the kouroi included 2 in the studies into two main groups. We argue that this rary Egyptian canon without major modification.” For division results from the influence of regional styles, rather the last 30 years, Guralnick’s studies have contributed than from the use of standardized proportional systems. significantly to a more or less orthodox