The Greek World Map 5-1 The Greek world. 1 Chapter 3.1 The Prehistoric and Ancient Mediterranean PART 3 HISTORY AND CONTEXTArt of Ancient Greece . Athletic, democratic, intellectual culture (philosophy, math, sciences) . Pride in their achievements is evident in the art they produced Portrayed idealized human bodies Applied mathematical systems of proportion to their architecture HUMANISM – “Man is the measure of all things” Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields GEOMETRIC PERIOD 800-700 BCE. After the fall of the Myceaneans a dark age existed until about 800 BCE when the economy of the region improved and began to grow. Abstract motifs, geometric design Meander- key design Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. 3 Hero and centaur (Herakles and Nessos?), from Olympia,Greece, ca. 750–730 BCE. Bronze, 4 1/2” high. Metropolitan Museum of Art, New York (gift of J. Pierpont). 4 Orientalizing Period (7th century BCE) • The pace and scope of Greek trade and colonization increased in the near East and Egypt during this period. “Oriental”, in this instance, means Mesopotamian area Figure 5-4 Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze, 8” high. Museum of Fine Arts, Boston. 5 Corinthian black-figure amphorae with animal friezes, from Rhodes, Greece, ca. 625–600 BCE.. 6 Note the patterning of the hair and dress. The beginning of the “archaic smile” to give the sculpture more “life”. Highly stylized form and representation of the human body Figure 5-6 Lady of Auxerre, from Crete, probably Eleutherna, Greece, ca. 650–625 BCE. Limestone, 2’ 1 1/2” high. Musée du Louvre, Paris. 7 Archaic Period (6th century BCE) • Life-size sculpture appear in 600 BCE. and nude • The emergence of the first stone temples featuring the Doric and Ionic orders of architecture developed by the Greeks • Greek vase painting became more elaborate and the figures were drawn in a more naturalistic manner. Artistic skill and media possibilities of black-figure and red-figure vases were expanded 8 Sounio Kouros, Marble, 3m tall, circa 600 B.C. Found in a pit at the temple of Poseidon at Sounio along with parts of four other destroyed kouroi. Kouros, from Attica, Greece, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York. 9 Notice the Full-frontal pose similar to the Egyptian figurative statuary. They are liberated from the stone block. Celebrates human physical perfection rather than the eternal perfection of the Egyptian pharaoh. Has the archaic smile. Wanted sculpture to be physically perfect yet alive. Figure 5-9 Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4” high. National Archaeological Museum, Athens. 10 Notice traces of encaustic paint on the Peplos Kore. Most Greek stone statues were painted. Encaustic is a paint made with wax as the binder. Notice also that the Peplos Kore is clothed. These are goddesses. Used in temples. Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, 4’ high. Acropolis Museum, Athens Kore, possibly Persephone, from late archaic period . 11 Temple of Hera I (“Basilica”), Paestum, Italy, ca. 550 BCE. 12 Archaic Greek Temple 13 Diagram of the Classical architectural orders Diagram of the Classical architectural orders, differentiating between the Doric, Ionic, and Corinthian. Key parts of Greek temple design, such as the pediment, entablature, frieze, capital, column, shaft, and base are also identified 15 KLEITIAS and ERGOTIMOS, François Vase (Athenian black-figure volute krater), from Chiusi, Italy, ca. 570 BCE. 2’ 2” high. Museo Archeologico, Florence. EARLY ARCHAIC PERIOD KRATER. Has heirachical scale, flat figures, some elements of pattern, but they tell stories and it is signed by both the potter and the painter. 16 EXEKIAS, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. Whole vessel 2’ high; detail 8 1/2” high. Musei Vaticani, Rome. Now we see a whole scene and no hierarchy at all. Still some patterning used. This is black figure pottery on this large vessel- amphora. 17 18 ABOVE Dying warrior, from the west pediment of the Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE. Marble, 5’ 2 1/2” long. BELOW Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6’ 1” long. Painted, life-size set in the pediment, yet no longer relief. Subject mostly around the Greeks and Trojans 19 Classical Period (5th century BCE) • The development of human representation in sculpture and the philosophy and principles behind its form. Now it is ruled by a canon of artistic laws to achieve harmony, beauty and human ideal • HUMANISM • Contrapposto developed in statuary • The Parthenon, the statue of the Athena Parthenos and the work of Polykleitos define what the work of Ancient Greece is known for in history 20 Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, 2’ 10” high. Acropolis Museum, Athens. 21 Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES Seven steps in the lost-wax casting process Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Chapter 2.9 Sculpture PART 2 Riace Warrior MEDIA AND PROCESSES 460 BCE 6’ 6” Bronze Lost wax casting or Hollow casting . Great attention to detail and was made at a time when the Greeks emphasized the perfection of the human body . Most Classical bronzes have not survived. http://www.youtube.com/watch?v=6- TxIKt2cUE . Even more turned and relaxed in stance Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Here the figure is in motion. The Romans made many copies of the Greek originals, so much so that it became a “cottage industry”. Much of what survives today are Roman copies of the Greek originals. Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460–450 BCE. Bronze, 6’ 10” high. National Archaeological Museum, Athens. 24 Doryphoros of Polykleitos •Originally titled Canon – a set of artistic laws to achieve perfection, harmony, beauty, the ideal •Established Polykleitos’ canon of proportions, setting ideal correlations among body parts derived from Pythagorus geometry and musical harmony theories and ratios •Contrapposto and counterbalance •Notice the harmony of opposites POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high. Museo Archeologico Nazionale, Naples. 25 Aerial view of the Acropolis looking southeast Athens, Greece. 26 Reconstructed view of the Acropolis Reconstructied view of the Acropolis, Athens, Greece, at the beginning of the 4th century BCE Chapter 3.1 The Prehistoric and Ancient Mediterranean PART 3 HISTORY AND CONTEXTThe Acropolis in Athens Best-known acropolis is in Athens, dedicated to Athena, goddess of war, wisdom, and the arts Original temple complex destroyed by Persians in 480/479 BCE A new temple was built: the Parthenon Pericles, a general, headed the project, using funds meant for another purpose, namely the defense of all the Grecian city-states of the Delian League. So, the temple of Athena, beauty, and democratic ideals was built with money “appropriated” by an abusive of power. https://www.youtube.com/watch?v=JqFuFouYKDw Acropolis tour Gateways Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos, looking southeast), Acropolis, Athens, Greece, 447–438 BCE. 29 Figure 5-45 Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after Andrew Stewart), 447– 432 BCE. The Acropolis switched hands over the years, from a Roman Catholic Church to a mosque to an ammunition storage place. 30 PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the lost chryselephantine statue. Royal Ontario Museum, Toronto. 38 feet tall 31 Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height 4’ 5”. British Museum, London https://www.youtube.com/watch?v=J3MXPqYKKRM Elgin Marbles debate 32 Details of the Panathenaic Festival procession frieze, from the Parthenon, Acropolis, Athens, Greece, ca. 447–438 BCE. Marble, 3’ 6” high. 33 Caryatids of the south porch of the Erechtheion, Acropolis, Athens, Greece, ca. 421–405 BCE. Marble, 7’ 7” high. 34 NIOBID PAINTER, Artemis and Apollo slaying the children of Niobe (Athenian red-figure calyx krater), from Orvieto, Italy, ca. 450 BCE. 1’ 9” high. Musée du Louvre, Paris. Figures now float on different levels no longer anchored to “ground level”, or the bottom plane of the image - Polynotos 35 Late Classical and Hellenistic Period (4th century BCE) • Late 5th century was marked by the devastating Peloponnesian War between Athens and Sparta • Macedonians invade Greece and defeat the united city states at the Battle of Chaeronea in 338 BCE. • 4th century Greece – political turmoil and it affected appearance of art 36 Aphodite of Knidos, PRAXITELES •Bold step to render a goddess in the nude •Sensuous and humanizing qualities – different from the cold, aloof gods and athletes of the High Classical PRAXITELES, Aphrodite of Knidos. Roman marble copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome. 37 Figure 5-66 LYSIPPOS, Weary Herakles (Farnese Herakles). Roman marble copy from Rome, Italy, signed by GLYKON OF ATHENS, of a bronze original of ca. 320 BCE.