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Ancient Greece. Greek Mask, gold, Medusa. Ancient Greece.
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Ancient Greece Greek Mask, gold, Medusa
Why do historians place so much importance on events that happened more than 30 centuries ago in an area not much larger than the state of Arizona? Why are the names of such artists as Myron, Phidias, and Polyclitus still held in esteem, even though none of their works is known for certain to exist today? Why are plays by Sophocles still performed all over the world? Why do people still find the comedy of Aristophanes funny after thousands of years? The answer is simple: That area – Greece - was the birthplace of Western civilization. Furthermore, its contributions to art, literature, and theatre, have had a profound effect on artists up to the present day. Vocabulary Raking cornice Cornice Frieze Lintel Capital Shaft Stylobate Pediment Entablature Column Colonnade Doric order Ionic order Corinthian order Silver decadrachm (coin) 375 B.C.
Early Greek Temples The earliest Greek temples were made of wood or brick, and these have since disappeared. As the economy prospered with the growth of trade, stone was used. Limestone and finally marble became the favorite building materials. The basic design of Greek temples did not change over the centuries. Greek builders chose not to alter a design that served their needs and was also pleasing to the eye. Instead, they made small improvements on the basic design in order to achieve perfection. Proof that they realized this perfection is represented in temples such as the Parthenon. It was built as a house for Athena, the goddess of wisdom and guardian of the city named in her honor. The Parthenon, Acropolis, Athens, Greece c. 447 B.C.
Raking Cornice Pediment Cornice Frieze Entablature Lintel Capital column Shaft Three step platform Stylobate
is the smaller of two porches added to its sides. On the Porch of the Maidens, the roof is supported by six caryatids, or columns carved to look like female figures.
Early in the eighth century B.C., artists began to add figures to the geometric designs on their vases.
In time, vase figures became more lifelike and were placed in storytelling scenes. An excellent example of this kind of painting is provided by a vase showing two figures engrossed in a game (It was created by an artist named Exekias (ex-eekee-us) more than 2,500 years ago
Greek Painting. Although no great paintings from ancient Greece have survived, it is likely that Greek painters placed great importance on realism. The Roman historian Pliny the Elder supports this notion. He tells of a great competition that took place in the fifth century B.C. The purpose of this competition was to determine which of two famous painters was more skilled in producing lifelike works. The painters, Zeuxis and Parrhasius, faced each other with their works covered by curtains. Zeuxis confidently removed his curtain to reveal a painting of grapes so natural that birds were tricked into pecking at it. Certain that no one could outdo this feat, he asked Parrhasius to reveal his work. Parrhasius answered by inviting Zeuxis to remove the curtain from the painting. When Zeuxis tried, he found he could not - the curtain was the painting. Alexander the Great
To understand and appreciate Greek accomplishments in sculpture, it is necessary to look back to an even earlier time known as the Archaic period.
Sculpture in the Hellenistic Period Burial Vessel
The Dying Gaul Many of the features of the Hellenistic style can be observed in a life-size sculpture known as the Dying Gaul A Roman copy shows a figure that was once part of a large monument built to celebrate a victory over the Gauls, fierce warriors from the north. In this sculpture, you witness the final moments of a Gaul who was fatally wounded in battle. Blood flows freely from the wound in his side. The figure uses what little strength he has remaining to support himself with his right arm. He has difficulty supporting the weight of his head and it tilts downward. Pain and the knowledge that he is dying distort the features in his face.
The unknown artist presents not a victorious young athlete but a mature, professional boxer, resting after a brutal match. Few details are spared in telling about the boxer's violent occupation. The swollen ears, scratches, and perspiration are signs of the punishment he has received. He turns his head to one side as he prepares to remove the leather boxing glove from his left hand. The near-profile view of his face reveals his broken nose and battered cheeks. There is no mistaking the joyless expression on his face, suggesting that he may have lost the match
