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Black Sea

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Black Sea

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  1. Greek CivilizationAncient Greece, was the birthplace of Western civilization about 2,500 years ago. Greek civilization reached its height in Athens during the mid-400's B.C., a period of outstanding achievement known as the Golden Age. The magnificent achievements of the ancient Greeks in government, science, philosophy, and the arts still influence our lives. Modern democracies owe a debt to Greek beliefs in government by the people, trial by jury, and equality under the law. The ancient Greeks pioneered in many fields that rely on systematic thought, including biology, geometry, history, philosophy, and physics. They introduced and perfected such important literary forms as epic and lyric poetry, history, tragedy, and comedy. In their pursuit of order and proportion, the Greeks created an ideal of beauty that strongly influenced Western art.

  2. Aegean civilization consisted of four cultures that flourished on the islands and shores of the Aegean Sea between 3000 and 1200 B.C. These cultures are called the Cycladic, Minoan, Mycenaean, and Trojan cultures. The Cycladic culture developed on a group of islands called the Cyclades. The Minoan culture arose on the island of Crete, and the Mycenaean culture flourished on the mainland of Greece. The Trojan culture centered upon the ancient city of Troy in what is now northwestern Turkey. (Heinrich Schliemann, 1870s; James T Bent, British – Knossos)

  3. Norway Sweden Denmark Netherlands Russia Kazakstan Belgium Poland Ukraine Uzbekistan Czech Slovakia Caspian Sea Switzerland Hungary Romania Black Sea Bulgaria Yugoslavia Portugal Albania Iraq Iran Morocco Algeria Tunisia Saudi Arabia Libya

  4. Geometric amphora, 8th BC. Terracotta, 155 cm. National Archeological Museum, Athens. The earliest Greek style, called Geometric (c. 1000-700 BC), is known only from pottery and small-scale sculpture.

  5. Geometric Period (900-700 BC) Geometric Krater, from the Dipylon cemetery, Athens, Greece, c. 740 BC. Approx. 103 cm. MMOA.

  6. Centaur, from lefkandi, Euboea. Late 10th century BC. Terra-cotta, 36 cm h. Archeological Museum, Eretria.

  7. Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, c.700-680 BC. Bronze, 20 cm. Boston Hero and centaur, c. 750-30 BC. Bronze, 11.5 cm. MMOA

  8. The Orientalizing Period (700-640 BC): influences from the Near East and Egypt. Corinthian black-figure amphora with animal friezes, from Rhodes, c. 625-600 BC. 35.5 cm h. British Museum, London.

  9. Wide-mouthed Pitcher, from Corinth. c. 600 BC. Ceramic with black-figure decoration, 30 cm high. The British Museum, London.

  10. The Orientalizing style (700-640 BC) shows influences from Eastern art (Egypt & the Near East) and, around the same time, monumental sculptures began to develop. Polyphemos Painter, Amphora, 675-650 BC. Terracotta, 142 cm. Eleusis Museum, Eleusis.

  11. Ergotimos and kleitias. Francois Vase, black-figure decoration on a volute krater. c.570 BC. Ceramic, 66 cm. Museo Archeologico Nazioale, Florence.

  12. The Archaic Period (600-480 BC)

  13. Berlin Painter, Bell Krater showing the Abduction of Europa, c. 490 BC. Terra-cotta, whole vessel 33 cm h.

  14. Exekias, Achilles and Ajax Amphora 520 bc, 12-1/2" Tall in the the Vatican collection The figure on the left is Achilles, his name written upside down behind his bent head, and Ajax (Aondos- the possessive form for Aeas- Ajax) is on the right, his name appearing over his bent head near the decorating band encircling the neck of the vase. The two are at Troy, taking a break from battle. The reverse of the vase shows the interesting family of the "twins" Castor and Pollux. Pollux, (Polydeuces) is on the far left behind his mother, Leda. Next is Castor, famed for his horsemanship, while on the right is the father Tyndareous, King of Sparta and a slave carrying a seat for the elderly king.

  15. Penthesilea Painter, Cup interior showing Achilles and Penthesilea, c. 455 BC. Terracotta, 43 in diameter, Antike Sammlungen, Munich.

  16. Euthymides, Three revelers (Attic red-figure amphora), from Vulci, c. 510 BC. 61 cm h. Staatliche Antikensammlungen, Munich.

  17. Achilles Painter, Muse and Maiden, on an Attic white-ground lekythos, c. 440-430 BC. 40.7 cm. high, Staatliche Antikensammlungen, Munich. Achilles Painter, Warrior taking leave of his wife (Attic white-ground lekythos), from Eretria, c. 440 BC. 43 cm h. National Archeological Musem, Athens.

  18. The statues of Kleobis and Biton mentioned by the ancient Greek historian Herodotus at BK 1.30; marble, ca. 580, from the sanctuary of Apollo at Delphi. Hgt of each figure: ca. 215 cm. In ancient Greek the word "kouros" (plural, "kouroi") means male youth, and at least from the fifth century, specifically an unbearded male. Modern art historians have decided to use the term to refer to this specific type of a male nude standing with fists to its sides and left foot forward. Kouroi are life size or larger, freestanding stone figures of unclothed young man striding forward. They are considered today to be one of the most distinctive products of the Archaic era, (ca 650-500 BCE). About 200 known examples have come down to us. The majority of surviving examples are fragmentary. Thus we need to remember that those discussed here are among the best preserved and are therefore untypical. "... the kouros is basically meaningless -or rather, its significance must lie in only distinguishing characteristics, namely, its nudity, its youth, its beauty, its autonomy, and its immutability: in other words, its form." Andrew Stewart, Greek Sculpture (New Haven: 1990): 109. Homer uses the word "kouros" in the Iliad to refer to young warriors.

  19. Menkaure and Khamerernebty, from Gizeh, Egypt, Dynasty IV, c. 2490-2472 BC, Slate, approx. 4’61/2” high, Boston. It is a superb example of the standing type, once in the valley temple of Menkaure’s pyramid complex at Gizeh. Notice the use of conventional postures to suggest the timeless nature of these eternal substitute homes for the ka.

  20. Kouros, c. 600 BC. Marble, approx. 184 cm h. MMOA NY Kouros from Sanctuary of Poseidon at Sounion: ca. 590, hgt 3.05 meters, found at Sanctuary of Poseidon at Sounion. Athens: National Museum

  21. Kouros, c. 600 BC. Marble, approx. 184 cm h. MMOA NY Kouros from Cape Sounionca. 600-590 B.C. marble, h. 3.05m.

  22. The Archaic kouros is a very conservative type of sculpture. Freestanding marble sculptures, of this greater than life-size-scale, are extremely expensive items in any period; and they must have been even more so in the Archaic period, which had few good sources of marble; a very small number of craftsmen who had the ability to carve such stone; and very limited means of transportation to move stone, craftsmen or sculpture from place to place. Kouroi can only have been commissioned by members of the highest social classes, because they were the only people who could afford them. Mentemhet, from Karnak, Dynasty XXV, c. 650 BC. Granite, approx. 135 cm, Egyptian Museum, Cairo.

  23. Lady of Auxerre Kore: ca. 650-625 B.C. Limestone, Height 70 cm, length 24 cm, width 16 cm. , Louvre. The Lady of Auxerre was named after the little Museum of Auxerre, a small city in the vicinity of Paris, where, about a century ago, a Louvre curator sighted her in the vault of that museum. No documents or information of any sort were available concerning the circumstances of her arrival there. It was decided she was a specimen of the so-called Daedalic type of oriental origin cultivated in the Greek world of the seventh century B.C. Typical, in this respect, is her wig (which could also be Egyptian) and triangular face, while her dress is of the ancient Cretan type. Therefore, she was classified as "Greek Cretan". The Daedalic type is characteristic rather of minor arts, almost the only type of art existing during this so-called orientalizing period of Greek art. Conditions for monumental art were only in gestation. In any case, the Auxerre lady is composed of parts which, however attractive, lack the unity and harmony which will characterize and dominate Greek art after its emancipation from foreign influence. A color Reconstruction of The Lady of AuxerreOrientalizing Period (700-600 BC)

  24. Kore, from the Acropolis, Athens, c. 510 BC. Marble, 55 cm h. Acropolis Museum. In contrast to the Kouros the Kore (maiden) is never nude but clothed. This is also the reason why these sculptures look more diverse than the nude Kouroi. A large number of Korai were found in the Acropolis in Athens. Often the Kore is holding some offering to the gods they served. As so little paint remains on the original, the restored version does not claim to be exactly right; indeed, recent scientific analysis suggests that the paintwork may have been even more elaborate, and may have gone through a number of different designs. Archaic Period (600-480 BC)

  25. Peplos Kore, from the Acropolis, Athens, c. 530 BC. Marble, 122 cm h. Acropolis Museum, Athens The statues were usually painted using the encaustic technique (mixing of colored pigments with wax as a bonding agent and applied on the heated sculpture). The wax was used to seal the stone preventing its erosion. The two images show different color reconstructions of the Peplos Kore. The umbrella-like hat is a meniskos used as a weather and bird protection. 19th century notions of the Classical Ideal made it hard for many people to accept that ancient Greek sculpture really was brightly coloured. Some neoclassisists, praising the pure white beauty of bare marble and the austere nobility of the architecture, were really imposing 19th century aesthetics and morality onto ancient Greek culture. Thus the acceptance of coloured sculpture was retarded. This resistance still lingers today: many museum visitors are shocked, horrified even, to see the blues and reds of the Peplos Kore.

  26. The Peplos Kore is the best known exhibit in the Museum of Classical Archaeology. It is a plaster cast of an ancient Greek statue of a young woman (kore means young woman or girl in ancient Greek), wearing a garment called a peplos. She is painted brightly as the original would have been, which was set up on the Acropolis in Athens, around 530 BC. She wears a red garment called a peplos which is gathered at the waist and pinned at the shoulders. The peplos is decorated with a green and white patterned band at its edges and green trimmings. Under the peplos is a blue crinkly garment called a chiton. The little umbrella on her head is called a meniskos and was to keep the weather and birds off. Her left arm was extended with an offering for the gods.

  27. Daedalic clay statuette of mourning kore, from the cemetary of ancient Thera. Second half of 7th c. BCE. Exhibited at the museum of Ancient Thera. Daedalic figurines are considered to be the precursor to the larger archaic Kouros and Kore statues. Kore with hand extended in offering.Marble, c. 510 BCE (Acropolis Museum)

  28. Calf-bearer (Moschophoros), an offering by Rhomboson the Acropolis, Athens, c. 570 BC. Marble, restored height 165 cm. Acropolis Museum, Athens.

  29. Kroisos, reportedly found in the cemetery at Anavysos in Attica, Greece, c. 530 BC. Marble, 193cm. National Museum, Athens.

  30. Grave stele of Aristion, ca. 510 B.C.marble, h. 2.02m.

  31. Temple of Hera I (the so-called "Basilica") ca. 550 B.C. Paestum,Greek Poseidonia, south of Naples in Italy. It is the prime example of early Greek efforts at Doric temple design. The entire peripteral colonnade is still standing. It was dedicated to Hera, referred to as Hera I to distinguish it from the later Temple of Hera II that stands nearby. A monumental temple (about 80 x 170 feet), it has nine columns at the ends and eighteen on the side--a ratio of 1:2. It was made of local stone, since marble was rare in this part of Italy, and stuccoed. Today it has lost all of its stucco.

  32. "Basilica" or Temple of Hera I [L. foreground] with Temple of Hera II in the back,ca. 460 B.C. Magna Graecia, Paestum

  33. Temple of Poseidon (Temple of Hera II),view from SE.. ca. 460 B.C.

  34. Temple of Poseidon (Temple of Hera II),view from SE.. ca. 460 B.C.

  35. A view of column with "necking,“ Temple of Poseidon (Temple of Hera II), view from SE.. ca. 460 B.C.

  36. Zappeion (Zappio) in Athens Columns of Temple of Hephaestus (Hephaistos) which was preserved because it was used as a church on Thissio Agora, Athens.

  37. Curved staircase of National Library in Athens. Entrance to Academy of Arts, Athens.

  38. Reconstruction of the Siphnian Treasury, using fragments found in the Sanctuary of Apollo, Delphi. C. 530-525 BC. Marble. Fragments: Archeological Museum, Delphi. This old reconstruction—probably from the east and west facades—has been dismantled.

  39. Treasury of the Siphnians, Delphi: Gigantomachy [L. portion] from N. frieze, ca. 525 B.C.

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