Gardner’s Art Through the Ages, 12e

1. Gardner’s Art Through the Ages, 12e Chapter 5 Gods, Heroes, and Athletes: The Art of Ancient Greece pp. 120-164

2. Geometric statues & vases: Strong Asian influence, stylized with geometric patterns. Archaic Sculpture: Starts with, but moves away from Egyptian influence. Temples: Influenced by near east. Move from the simple Cretan megaron, through Doric to Ionic.. Doric Ionic Severely plain Highly ornamental Echinus convex Echinus small and supports and cushionlike bolster ending in scroll-like spirals Frieze subdivided into Frieze left open to provide triglyphs and metopes continuous field for relief sculptures Massive in appearance Light and airy in appearance Summary

3. The Greek World

4. Early & High Classical Period • Temple of Zeus, Olympia • Statuary: The Perfect Statue • The Athenian Acropolis: • Parthenon • Propylaia • Erechtheion • Temple of Nike • Late Classical • Hellentistic TOPICS

5. East pediment Temple of Zeus, Olympia, ca 500-490 BCE Represents the chariot race between Pelops and King Oinomaos, the story told in Aeschylus’Oresteia. Early & High Classical: Architectural Sculpture

6. The seer – who knows the future … is the only one who reacts East pediment Temple of Zeus, Olympia,470-456 BCE Architectural Sculpture

7. Labors of Herakles, metope TheTemple of Zeus, Olympia,470-456 BCE • The attitude (more human and emotional) and dress (simple Doric clothing) contrast with the elaborately clothed, always smiling Late Archaic style statues. • Contrapposto, the shifting of weight to create counterbalance, was a large step towards the depiction of natural movement. • Poses of the Late Archaic period were inspired by Egyptian rigidity and frontality and did not accurately show how real human beings stand. Architectural Sculpture

8. Charioteer from Delphi, ca. 470 BCE

9. Hollow-casting life-size bronze sculpture

10. Zeus or Poseidon, ca. 460-450 BCE Sculpture

11. Riace Warrior, Italy ca. 460-450 BCE. Compare with Kritoi Boy Classical vs Archaic statuary

12. Dr Fisher’s Pictures: ATHENS

13. Made in marble ca. 450 BCE The discus thrower was part of a search for an ideal form. Beauty, Chrysippus feels, resides not in the commensurability (symmetria) of the constituents (i.e. of the body), but in the commensurability of parts, such as the finger to the finger, and of all the fingers to the metacarpus and the wrist (carpus), and of these to the forearm, and of the the forearm to the arm, in fact of everything to everything, as it is written in the Canon of Polyclitus. For having taught us in that treatise all the symmetriae of the body, Polyclitus supported his treatise with a work, having made a statue of a man according to the tenets of his treatise, and having called the statue itself, like the treatise, the Canon. Roman Copies

14. “Symmetria” He uses dynamic asymmetry rather than static symmetry. Chiastic (cross) balance is motion while at rest. Tense and relaxed limbs oppose each other diagonally (the right leg and the left arm are relaxed, and the left leg and the right arm are tensed). After Polykleitos Doryphos[Roman Copy],Pompeii, 450-440 BCE

15. Beauty, Chrysippus feels, resides not in the commensurability (symmetria) of the constituents (i.e. of the body), but in the commensurability of parts, such as the finger to the finger, and of all the fingers to the metacarpus and the wrist (carpus), and of these to the forearm, and of the forearm to the arm, in fact of everything to everything, as it is written in the Canon of Polyclitus. For having taught us in that treatise all the symmetriae of the body, Polyclitus supported his treatise with a work, having made a statue of a man according to the tenets of his treatise, and having called the statue itself, like the treatise, the Canon. Chrysippus onPolykleitos

16. Kresilas, Pericles [Roman copy]ca. 429 The “Delian League” – centered in Delos The acropolis is not the fruits of democracy, by of tyranny and abuse of power. The Classical Period: Pericles

17. The Acropolis -- Athens

18. The Acropolis -- Athens

19. ca. 447-438 BCE The “Ideal” Temple Peripteral colonnade largely standing today. Design the result of blending math & optics. Built according to set proportions. The Parthenon

20. Doric with 2 Ionic elements. • The back room had four tall and slender Ionic columns as its sole supports. • The inner frieze that ran around the top of the cella wall was Ionic. • Irregular elements: • The stylobate curves upwards at the center on both the sides and the façade, forming a shallow dome. • The curvature of the shallow dome of the stylobate carries up into the entabulature. • The peristyle columns lean inward slightly. The Parthenon

21. Reconstruction of Phidias, Athena Parthenos, 438 BCE The Athena Parthenos was a 38-foot tall statue of Athena, made of gold and ivory. She was fully armed with a shield, spear, and helmet, and she held Nike, the winged female personification of Victory. Her sandals and shield bore paintings and reliefs of battles. Parthenon – inside the Cella

22. Lord Elgin: British ambassador to the Ottoman court at Istanbul, dismantled (with permission) many of the Parthenon sculptures and shipped them to England between 1801 and 1803. He sold them to the British government at great financial loss. In modern times accused of “stealing” Greece’s cultural heritage, but also saved them from certain ruin if they had been left at the site. Lapith vs centaur Metope, Parthenon The Acropolis

23. From the east pediment of the Parthenon that depicted the birth of Athena. Helios & his horse Three goddesses. ca. 438-432 BCE The Acropolis

24. The remains of the east pediment The Acropolis -- Parthenon

25. A few of the Elgin Marbles at the British Museum [taken by Sally Fowler] The Acropolis -- Athens

26. The water-bearers from the Parthenon – now in the Acropolis Museum. The Acropolis -- Parthenon Hydria

27. Festival procession Gods & goddesses The Acropolis -- Parthenon

28. Maidens & elders The Acropolis -- Parthenon

29. Mnesikles, 437-432 BCE The entrance to the temple complex. The Acropolis -- Propylaia

30. 421-405 BCE A multiple shrine Erechtheion

31. Better proportioned than the Delphi ones. Erechtheion

32. Kallikrates, 427-424 BCE Worked with Iktinos on Parthenon, which may explain Ionic elements in that building. Stands on the site of a former Mycenaean bastion. Temple of Athena NikeIonic

33. Nike adjusting her sandal, ca. 410 BCE Stylistic features: a. Clinging garments reveal curves of the body b. Intricate linear patterns of folds create abstract design c. Deep carving produces pockets of shade to contrast with the polished marble Temple of Athena Nike

34. Dipylon Cemetary ca. 400 BCE Same style as the Temple of Athena Nike. Grave Stele of Hegeso

35. Polychromy & use of white ground variation on Red-figure painting Achilles Painter, ca 440 BCE.

36. Artemis & Apollo slaying the children of Niobe. [because she boasted to Leto about having more children than Leto] Niobid Painterca. 450 BCE

37. Possibly symbolizes the plunge from this life into the next. Tomb of the Diver – Paestum, Italy, ca. 480 BCE

38. Praxiteles – Aphrodite of Knidos, Roman copy, orig. 350-340 BCE Late Classical Period

39. Praxiteles: Hermes & the infant Dionysos, 324 BCE Late Classical Period

40. Lysippos, ca 330 BCE He introduced a new canon of proportions, with the head one-eighth the height of the body instead of one-seventh, for a more slender figure. He also began to break down the use of the dominance of the frontal view of sculptures and encouraged viewers to look at the sculptures from multiple angles. Late Classical Period

41. Lysippos, Weary Herakles, ca. 320 BCE Late Classical Period

42. Late Classical Period: Architecture

43. Amphitheatre at Epidauros, ca 350 BCE Late Classical Period

44. Tholos, Delphi

45. The Greeks were slow to adoptCorinthian capitals – used at Delphi & Epidauros only in the interiors of sacred buildings. The main advantage of a Corinthian capital over an Ionic capital was that All four sides have a similar appearance, so corner Corinthian capitals did not have to be modified like Ionic capitals to follow the rule of “triglyphs at the corners of a frieze must meet so that no space is left over.” They also did not require the use of metopes or triglyphs, because an Ionic frieze could be used instead. Late Classical Period

46. Begun 331 BCE Didyma Hellenistic Period

47. 4th cen. BCE Hellenistic Period: Priene

48. The Acropolis – AthensStoa of Attalos II– ca 150 BCE-- Now used as part of the Acropolis Museum

49. ca. 175 BCE Pergamon-Altar of Zeus

50. ca. 175 BCE Pergamon-Altar of Zeus