DOCSLIB.ORG

Ancient Greece Daedalic Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Ancient Greece Daedalic Period Daedalic sculpture. Daedalic sculpture, type of sculpture attributed to a legendary Greek artist, Daedalus. He was Native to the Island of Crete (630 BCE). Lady Of Auxerre, fom Eleutherna,Greece 650-625, Limestone, about 2 feet high Egyptian and Near East Influences? <Menkaure and his wife? from GIza Lady of Auxerre > What is a free standing sculpture? Archaic Period Compare Idolization: Process in art through which artist strive to make their form and figures obtain perfection. (based on their cultural values of perfection/ mental image of perfection) <Montuemhat 660-650 BCE, granite, 4 feet 5 inches Kouros, 600 BCE, marble 6 feet height> >>cubic/ geometric shapes A series of nude (idealized) male figures were made as grave markers for the elite (people of a higher statues) Not a portrait but a symbol of the idealized man. The figure is free from the stone and probably would have been painted. Choker Archaic smile: Calf Bearer 560 BCE, Marble, 5 feet (restored) Kouros From Anaryosos, Greece 530 BCE, Marble, 6 feet 4 inches high Kouros ● How are these Kouros figures different and how are they similar? ● How do they compare with the sculptures by the Ancient Egyptians? ● How are they Idealized? More Examples Athens, NAMA 4890, Kouros Milani kouros, Florence Museo from Merenda Archeologico, Richter 70. Tenea kouros, Munich 168. Peplos Kore, From Acropolis, Greece 530 BCE, Marble, 1 foot high What could she have looked like painted? The evaluation of female figures Greek Gods Zeus children- Ares(Mars) -God of war Mount Olympus Athena- Goddess of Wisdom and warfare Zeus-King of the Gods/ ruled the sky and allotted the Hephaestus- God of fire and metalworking sea to his brother Poseidon. His weapon was a thunderbolt. Apollo- God of light and music Hera- Zeus wife and sister / Goddess of marriage. Artemis or Diana- God of the hunt and of wild animals Poseidon-God of the sea, often see with a pitchfork Aphrodite- Goddess of love, spring beauty. Demeter- 3rd sister to Zeus/ Goddess of grain and architecture Non-Olympian deities-Hades- God of the underworld Architecture Temple of Hera. 550 BCE, Paestum, Italy Great example of Doric columns Pediment - top triangle form at the top/ this may have been decorated with sculpture. Entablature -The top part of entablature is called the >>>>> Freeze -decorated with a triglyphs( 3 marks ) the space between are known as metopes and they may have been decorated with sculpture. Capital- flare and simple slab on top. Masculine form/ heavy Column or shaft - vertical lines that move over the surface known as futes/ shallow The shaft goes straight into the floor. Vase Painting Black figure Vs Red figure Temple of Aphaia, Aegina greece Dying Warrior, from the west Pediment of Temple of Aphaia, Aegina Greece, 490 BCE ,Marble Dying Warrior from the East pediment of the Temple of Aphaia. 480 BCE, Marble Early to middle Classical period Kritios Boy, From Acropolis Athens, Greece 480 BCE, Marble Progression Who was Herakles? Athena, Herakles, and Atlas with apples from the Temple of Zeus, Olympias Greece, 470-456 BCE Born in Thebes- the son of Zeus and Alkmene who was a mortal women. Zeus wife got jealous and send down serpents to attack hercules in his cradle, but he strangled them. Hera later caused hercules to go mad and kill his family, for that he had to pay. As punishment>>> 12 great labors 1. He defeated a lion of emea and onward wore a lions cloak and holds a club. 2. Obtain golden apples from the Goddess Gaia where a dragon was guarding them. After completing 12 tasks he was allowed into Olympia he godly realm. Hollow casting life size bronze statues. <Warrior, from the Sea off Riace, 460-450 BCE bronze Charioteer of Delphi, 470 BCE,> Bronze Zeus From the Sea off Cape, Artemision, Greece, 460-450 BCE Archaic vs Classical Marble Bronze Closed Form Open form/ action Archaic smile Expressive face Myron, Discobolus (Disk Thrower) From the the Eaquilie Hill, Rome Italy. Copy of a bronze statue 450 BCE This is A marble copy of the original Bronze. Because many Bronze sculptures were Melted down and re-use as war armor. Many of the originals were destroyed. The Shoulders and arms reverse the twist of the hips. The body is Ideal, nude and muscular The face shows no starin and remains relaxed and noble. Bronze Vs Marble Bronze Marble ❏ More forgiving ❏ -less forgiving/ you must commit to a mark ❏ More expensive ❏ -more cost efficient ❏ Durable ❏ -Durable ❏ Free standing ❏ -needs a stand ❏ The process is one of adding rather than ❏ -carving away more than adding. subtracting Contrapposto: 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. Polykleitos, Doryphoros (Spear Bearer)>>> Late Classical Artist: Praxiteles Aphrodite of Knidos Roman copy of Marble statue. 350-340 BCE Artist: Lysippos. Weary Herakles, Roman statue from baths of Caracalla. 320 BCE 10 feet 5 inches Architecture Hellenistic Art Alexander the Great : Head of Alexander the great by Lysippos. He spent most of his ruling years on an unprecedented military campaign through Asia and northeast Africa, and he had created one of the largest empires of the ancient world by the age of thirty, stretching from Greece to northwestern India. He was undefeated in battle and is widely considered one of history's most successful military commanders. The Hellenistic period starts after the death of Alexander The Great. Alexander The Great was a son of a very The Altar of zeus powerful man.Being born into power he became a great general and expanded Greek territories into Turkey and the border of Persia into Asia Minor. After his death, Greece was split up into 4 areas that were awarded to Alexanders 4 generals. One of which was Pergamont in Turkey. In Pergamont, their wealth was used in part to erect an Altar dedicated to Zeus depicting a Greek celestial battle of epic proportions. And an area perhaps for sacrifices to Zeus himself. <<Athena Battles Giants/ Alkyones, detail from Altar of Zeus, 175 BCE 7 feet high <<Zeus Battles Giants, detail from Altar of Zeus. Dying Gaul. Roman copy of Bronze statue. 230-220 BCE Victory for :The Pergamon : a Hellenistic kingdom Over: The Gauls: People of Europe outside the Hellenistic sphere. What can we see? Alexandros of Antioch-on-the- meander, Aphrodite (venus de Milo) from Melos, Greece, 150-125 BCE Marble. >>>>>>>> Defeated Boxer, Bronze 100-50 BCE pa·thos [ˈpāˌTHäs] NOUN a quality that evokes pity or sadness. "the actor injects his customary humor and pathos into the role" Old Market woman Roman copy? 150-100 BCE Athanadoros Hagesandros and Polydoros of Rhodes Laocoon and his Sons. Marble. Roman copy Story: The Sculpture depicting Laocoon is a Roman copy made in marble. Laocoon was a Trojan priest who knew that the (Trojan Horse) a gift from the Greeks was a trick and was full of Greek soldiers. He tried to warn his city. The Gods who loved and looked over the Greeks did not like this so they sent serpents down to punish him. The serpents were to strangle him and his sons. This sculpture is a depiction of the scene What do we see? .
Recommended publications
  • Art List by Year

    Art List by Year

    ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High
  • The Origins of the Kouros

    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
  • Greek Sculpture and the Four Elements Art

    Greek Sculpture and the Four Elements Art

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level.
  • Two Sample Notes on Lady of Auxerre: One Done Correctly, One Not! Can You Tell?

    Two Sample Notes on Lady of Auxerre: One Done Correctly, One Not! Can You Tell?

    Two sample notes on Lady of Auxerre: one done correctly, one not! Can you tell? Ms. Sweeney Period 1 Lady of Auxerre Recent History • discovered in museum storeroom • in Auxerre, central France • early 20th century • currently in the Louvre Origin • Probably from island of Crete o based on limestone it’s made from • Renewal of stone sculpture in Greece in 7th century • Similar to other funerary statues found on Crete o often Archaic sculpture made as funerary sculpture = sculpture used to mark graves o probably placed on a necropolis = ancient cemetery Influences • Looks Egyptian – important source; not naturalistic as later periods • Also see influence of ancient Near Eastern culture o E.g., geometric patterns in sKirt & hair A Closer Look • Only about 2 feet tall • Not naturalistic o Elongated legs & fingers o Disproportion of head to torso and legs • While face is damaged, can recognize sculpture’s Archaic smile o Mouth has slight upturned corners o Appears on faces of most Archaic sculptures § Not only people, but animals as well o Usually found in pieces dating prior to 5th century o Suggests that subject was alive and has a sense of well-being • Use of geometric forms o Series of symbolic forms that represent the hand o Hair bundled up in squares, perhaps braids • Probably once brightly painted • Arms somewhat separated from body o unlike ancient Egyptian art where arms are wedded to body with stone in between • Not proportional: does not correspond in size to a typical body (head, torso, legs don’t match) • While arms are separated, legs are blocK of limestone and not separated at all o A first step towards GreeK sculpture in coming centuries o Sculpture in-the-round = a free-standing sculpture not attached to a flat background o Fully carved from front to bacK Heidi S.
  • Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)

    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.
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L

    Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
  • Geometric & Archaic Greek

    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.

  • AP Art History Greek Study Guide

    AP Art History Greek Study Guide "I cannot teach anybody anything. I can only make them think." - Socrates (470-399 BCE) CH. 5 (p. 101 – 155) Textbook Timeline Geometric Archaic Early Classical High Classical Late Classical Hellenistic 900-700 600 BCE- 480 Severe 450 BCE-400 BCE 400-323 BCE 323 BCE-31 BCE BCE 480 BCE- 450 BCE BCE Artists: Phidias, Artists: Praxiteles, Artists: Pythokritos, Artists: ??? Polykleitos, Myron Scopas, Orientalizing Lysippus Polydorus, Artists: Kritios 700-600 Agesander, Artworks: Artworks: BCE Artworks: Athenodorus kouroi and Artworks: Riace warrior, Aphrodite of Knidos, korai Pedimental Zeus/Poseidon, Hermes & the Infant Artworks: sculpture of the Doryphoros, Dionysus, Dying Gaul, Temple of Diskobolos, Nike Apoxyomenos, Nike of Samothrace, Descriptions: Aphaia and the Adjusting her Farnes Herakles Barberini Faun, Idealization, Temple of Sandal Seated Boxer, Old Market Woman, Artemis, Descriptions: stylized, Laocoon & his Sons FRONTAL, Kritios boy Descriptions: NATURAL, humanized, rigid Idealization, relaxed, Descriptions: unemotional, elongation EMOTIONAL, Descriptions: PERFECTION, dramatic, Contrapposto, self-contained exaggeration, movement movement, individualistic Vocabulary 1. Acropolis 14. Frieze 27. Pediment 2. Agora 15. Gigantomachy 28. Peplos 3. Amphiprostyle 16. Isocephalism 29. Peristyle 4. Amphora 17. In Situ 30. Portico 5. Architrave 18. Ionic 31. Propylaeum 6. Athena 19. Kiln 32. Relief Sculpture 7. Canon 20. Kouros / Kore 33. Shaft 8. Caryatid / Atlantid 21. Krater 34. Stele 9. Contrapposto 22. Metope 35. Stoa 10. Corinthian 23. Mosaic 36. Tholos 11. Cornice 24. Nike 37. Triglyph 12. Doric 25. Niobe 38. Zeus 13. Entablature 26. Panatheonic Way To-do List: ● Know the key ideas, vocabulary, & dates ● Complete the notes pages / Study Guides / any flashcards you may want to add to your ongoing stack ● Visit Khan Academy Image Set Key Ideas *Athenian Agora ● Greeks are interested in the human figure the idea of Geometric perfection.
  • Chapter 1 Multiple Choice 1. an Important Series of Caves With

    Chapter 1 Multiple Choice 1. an Important Series of Caves With

    Chapter 1 Multiple Choice 1. An important series of caves with paintings from the Paleolithic period is located in ________. a. Italy b. England c. Germany d. France Answer: d ​ 2. Which of the following describes the Venus of Willendorf? ​ ​ a. It is a large Neolithic tomb figure of a woman b. It is a small Paleolithic engraving of a woman c. It is a large Paleolithic rock­cut relief of a woman d. It is a small Paleolithic figurine of a woman Answer: d ​ 3. Which of the following animals appears less frequently in the Lascaux cave paintings? a. bison b. horse c. bull d. bear Answer: d ​ 4. In style and concept the mural of the Deer Hunt from Çatal Höyük is a world apart from ​ ​ the wall paintings of the Paleolithic period. Which of the following statements best supports this assertion? a. the domesticated animals depicted b. the subject of the hunt itself c. the regular appearance of the human figure and the coherent groupings d. the combination of men and women depicted Answer: c ​ 5. Which of the following works of art was created first? a. Venus of Willendorf b. Animal frieze at Lascaux c. Apollo 11 Cave plaque d. Chauvet Cave Answer: d ​ 6. One of the suggested purposes for the cave paintings at Altamira is thought to have been: a. decoration for the cave b. insurance for the survival of the herd c. the creation myth of the tribal chief d. a record of the previous season’s kills Answer: b ​ 7. The convention of representing animals' horns in twisted perspective in cave paintings or allowing the viewer to see the head in profile and the horns from the front is termed __________.
  • THE GREEK MIRACLE Classical Sculpture from the Dawn of Democracy the Fifth Century B.C

    THE GREEK MIRACLE Classical Sculpture from the Dawn of Democracy the Fifth Century B.C

    THE GREEK MIRACLE Classical Sculpture from the Dawn of Democracy The Fifth Century B.C. FOR IMMEDIATE RELEASE NATIONAL GALLERY OF ART AND THE METROPOLITAN MUSEUM OF ART TO PRESENT LANDMARK EXHIBITION OF CLASSICAL SCULPTURE FROM FIFTH-CENTURY B.C. GREECE KRITIOS BOY AMONG OBJECTS TO BE LOANED FOR FIRST TIME WASHINGTON, D.C., June 4, 1992 J. Carter Brown, director of the National Gallery of Art, and Philippe de Montebello, director of The Metropolitan Museum of Art, New York, today announced that their institutions will present an unprecedented exhibition of the finest examples of original sculpture from fifth-century B.C. Greece, the golden age that transformed the history of Western art. The exhibition is made possible by Philip Morris Companies Inc. The objects selected for The Greek Miracle; Classical Sculpture from the Dawn of Democracy. The Fifth Century B.C. include twenty-two pieces, most of which have never left Greek soil, and eleven more from Europe's leading museums. They represent the great sculptural innovations and achievements in the depiction of the human form that followed the birth of democracy in Athens 2,500 years ago. Among the icons of fifth- century B.C. sculpture in the exhibition are the Kritios Boy. Contemplative Athena. Cavalry from the Parthenon Frieze, and Nike -more- National Gallery of Art, Washington, D.C. 20565 November 22, 1992-February 7, 1993 The Metropolitan Museum of Art, New York 10028 March 11-May 23, 1993 The exhibition is made possible by Philip Morris Companies Inc. the greek miracle . page 2 (Victory) Unbinding Her Sandal.
  • Sophocles, Antigone Chronology 480-358 BCE Classical Greece 480

    Sophocles, Antigone Chronology 480-358 BCE Classical Greece 480

    Lecture 7 Classical Greece WC 90-105 PP 113-121: Sophocles, Antigone Chronology 480-358 BCE Classical Greece 480 Athens burned to the ground by Persians 479 Greeks victorious at the battle of Plataea 478-404 Delian League ca. 460 becomes heavy-handed 431-404 Peloponnesian War Star Terms: trireme Acropolis Socrates Geog Terms Athens Delian League Peloponnesus A. Parthenon (Athens), 447-438 BCE geometric harmony, civic architecture, home of Pallas Athena, patroness of Athens The Parthenon stands as one of the greatest monuments in the Classical world. Phidias, a leading Athenian artist of his generation and a friend of Pericles, supervised the sculptural decorations. Completed in 432 BCE as a temple to Athena, the patron goddess of Athens, the Parthenon celebrates Athena in her aspect as a virgin goddess. Parthenos, Greek for ‘virgin.’ Much like the Mesopotamian ziggurat, the Greek temple was a communal symbol of reverenct for the gods, but, whereas the ziggurat enforced the separation of priesthood and populace, the Greek temple united religious and secular domains. Its damaged state reflects centuries of neglect and misuse. In the 5th century CE the Parthenon became a Christian church, and in the 15th century the Turks conquered Athens and converted the temple into a mosque. They stored gunpowder in the building! When it was shelled by artillery in 1687, most of the interior and many sculptures were destroyed. This building is significant because it represents the grand aspirations of Pericles and his ambition to make Athens the center of the Greek world. When the Delian League, originally a voluntary confederation of Greek city-states bound together as a common defense organization (think NATO) became a military tool of its largest and most powerful member Athens (think America) the treasury was moved from Delos, an important island dedicated to the god Apollo, to Athens, the Athenian Empire had begun.
  • Chapter 4- Minos and the Heroes of Homer

    Chapter 4- Minos and the Heroes of Homer

    CHAPTER 5- GODS, HEROES AND ATHLETES The Art of Ancient Greece SUMMARY: Introduces the student to the Greek world and its contribution to Western civilization. Discern the differences between the art of Greece and the art of the world covered thus far. For the Greeks the body was the visible means of conveying perfection. You will notice the developing forms of sculpture from the geometric period and its schematic naïve presentation to the full realization of the human form as a vehicle to illustrate “natural movement in a hard and intractable form as marble. The tenet of Greek art production: balance, harmony and symmetry. These ideals are reflected in architecture as well as sculpture. LECTURE: Compare Greeks and Egyptians similarities and differences and focus on the diversity of the Ancient World. Use a social methodology when analyzing the difference among the cultures. Point out the influences and how these motifs have been adapted to fit a new canon and aesthetic definition. Geometric and Orientalizing Periods 9th-7th C. BCE Archaic Period 6th C. BCE Classical Period 5th C. BCE Late Classical Period 4th C. BCE Hellenistic Period 323-31 BCE Major Differences Between early period and its counterpart in the Ancient Near East is the fascination the human body had for the Greeks. Even in 8c. BCE the Greeks interested in depiction of anatomy and natural movement. 5.2 show a marked fascination with the body and movement. Illustrates sense of volume and natural movement, anatomy even though one figure is a mythic creature, centaur. Shows more natural representation of the figures by showing the soft curve of the body; lower torsos of both figures depict a primitive attempt at showing the human figure (form).