Greek Art: Introduction Fifth Century B.C.

.- Golden age of Athens Athenians an open, democratic society; ideal of humanistic education Man is what matters - measure of all things quotation by Protagoras Humanistic view of the world is what led the Greeks to create democracy. Democracy from the word demos which means people and kratos which means power. Greek exaltation of humanity and honoring of the individual Greeks turn their gods into men and men into gods. ; Know thyself! Greek as the product of intermingling of Aegean people and Indo-European invaders. Poleis city states After 25 years tyrants were overthrown and democracy was established. 776 B.C. first Olympic Games was held at Olympia Athens the capital of the modern nation of Greece, symbol of ancient Greek culture Agora (marketplace); stoas (covered colonnades); palestra (covered gymnasiums) Republic (ideal form of government by Plato) Rich intellectual life (complimented by strong interest in physical exercise, which played a large role in education and daily life) mens sana in corpore sano a sound mind in a sound body Greek civilizations owes to the earlier great cultures of Egypt and the Near East slavery natural , even beneficial and was a universal institution among the Greeks THE GEOMETRIC & ORIENTALIZING PERIODS, 9TH 7TH Centuries B.C. Dark Ages of Greece depopulation, poverty and isolation 8th Century B.C. classical Greece took shape again also the return of human figure to Greek art- except to monumental statuary Dipylon Vase covered with precisely painted abstract angular motifs scene of mourning for a dead Athenian Geometric Art Return of human figure to Greek art, painted on the surfaces of ceramic spots Dipylon Vase, Dipyon cemetery, Athens, c 750 B.C. Huge amphora (two-handled storage jar); 61high; roughly height of a man or woman Grand technical achievement; testifies to bothe skill of potter and wealth of deceaseds family Bottom is open to provide drain for rainwater Precisely painted abstract angular motifs (meander, or key, pattern) in horizontal bands of varying height Functions as grave marker; scene of mourning for the dead Empty space filled with asterisks and M-shaped ornament

Attic Geometric Krater, Dipylon cemetery, c. 740 B.C.

 Approx. 40 high Grave marker; mourning scene; specified gender of deceased Hero and Centaur, c. 750-730 B.C. Bronze; approx. 4 high; stylized nude figures Herakles battling centaur (a mythological beast that was part man, part horse) Hellenic instinct for natural beauty of human figure reflected in Greek athletes exercised without their clothes and even in Olympic games Orientalizing Art bronze figurines more and more detailed after a half century Greek artists exposed more than ever before to Egyptian and Eastern works of art

Mantiklos Apollo, c. 700-680 B.C. Bronze, approx. 8 high; dedicated to Apollo at Thebes by an unknown man Mantiklos unsure if it was meant to represent the youthful Apollo Interest of artist in producing details like long hair, pectoral and abdominal muscles

Corinthian black-figure amphora, c. 625-600 B.C. Approx. 14 high Orientalizing animal friezes Black Figure painting ceramic technique invented by the Corinthian; black silhouettes on clay surface, then uses sharp, pointed instrument to incise linear details within the forms, usually adding highlights in purplish-red or white over the black figures before firing the vessel Engobe slip of finely sifted clay that originally is of the same color as the clay of the pot Plan of Temple A, Prinias, c. 625 B.C. Built to honor unknown deity Form resembles Mycenaean megaron Lintel of Temple A, Prinias, c. 625 B.C. Limestone, approx. 33 high; seated goddess, approx. 32 high Above doorway of Prinias temple Frieze of Orientalizing panthers with frontal heads

Lady of Auxerre, c. 650-625 B.C. Limestone, approx. 25 high; after the French town that is her oldest provenance Kore (pl. korai, statue of goddess or maiden)uncertain whether mortal or deity Hands placed across chest probably gesture of prayer Daedalic style after legendary artist Deadalus meaning skillful one Triangular flat-topped head framed by long strands of hair THE ARCHAIC PERIOD (6th Century B.C.) Daedalus built the labyrinth to house the Minotaur - worked in Egypt is a reflection of the enormous impact of Egyptian art and architecture upon the Greeks Statuary Daedalus used same compositional patterns for his statues as the Egyptians used for their own First truly monumental stone statues of Greeks follow canonical Egyptian format Kouros, Attica, c. 600 B.C. Marble, approx 6 high Kouros (pl. kouroi life sized marble Kouros from Attica emulates the stance of Egyptian statues Greeks statues differ in two important way : 1. Liberated from the stone block from which it was fashioned, represents motion rather than stability like Egypts sculptured figurines 2. Statue is nude, formally indistinguishable from Greek statues of deities with their perfect bodies exposed for all to see shares many traits with the Mantiklos Apollo and Lady Of Auxerre slim waist of earlier Greek statues pointed arch of rib cage does not accurately reproduce the rounded flesh and muscle of the human body Moschophoros (calf bearer) stands in left-foot-forward manner bearded (no longer a youth) wears a thin cloak represents noble perfection that such nudity suggest , respected citizen Architecture and Painting Daedalic Style model of Egyptian columnar halls like at Karnak Greek architecture and its Roman and Renaissance descendants and hybrids almost as familiar to us in modern architecture Architecture of Classicism

Hellenistic times no monarchs to house royally temples not for worshipping a deity, its for the grandest offering to the deities Greek temple house of gods and goddesses and NOT of his or her followers Figural sculpture embellish the gods shrine finely carved capitals and moldings abstract in form

Acropolis high city earliest Greek temple made of wood and mud brick Temple of Hera at Olympia one oak column remain, other column was replaced by stone column Archaic and later Greek use permanent materials Naos or cella room with no windows that housed the cult statue of the deity Pronaos porch opisthodomos smaller second room, placed behind cella Prostyle colonnadeplaced across the temple Amphiprostyle both front and back Peristyle all around the cella Classical Greek Architecture simple core theme, series of complex but always quite intelligible, variations is developed earliest temple tend to be long and narrow (1:3 proportion) 6th century 1:2 proportion, tending to be a little longer than twice their width Proportion in architecture and sculpture same to the Greek mind and reflected and embodied the cosmic order Entablature superstructure Orders of Greek Architecture articulating the three units Doric formulated in the mainland and remained the preferred manner there and in western colonies of the Greeks Ionic order of choice in the Aegean Islands and on the western coast of Asia Minor Ionic Order often used in Athens Athenians Ionians who never migrated Stylobate uppermost course of the platform Shaft marked with vertical channels (flutes) Capital Base drums joined by metal dowels to prevent turning as well as shifting Necking horizontal lines that furnish the transition to the capital Echinus lower element of the capital Volutes scroll like spirals Abacus flat, square block provides immediate support for the entablature Subdivisions of entablature : Architrave, Frieze, Cornice Architrave main weight-bearing Frieze weight-distributing Cornices horizontal decorative molding projection Doric order massive in appearance, its sturdy columns firmly planted on the stylobate Ionic is more slender and rise from molded base Doric flutes sharp ridges Ionic flutes flat ridges Archaic temple 550 B.C. at Paestum, south Naples in Italy Temple of Hera I 1:2 ratio of faade and flank columns elevation characterized by heavy, closely spaced columns with a pronounced swelling at the middle of the shafts

heaviness and narrowness of the spans Archaic builders watch them to avoid any collapses of the superstructure later Doric structures columns placed farther apart and the forms are gradually refined central figure at Corfu Medusa (demon with the body of a woman and the wings of a bird) Corfu felines tradition of the guardian lions of the gate to the citadel at Mycenae Gigantomachy (battle of gods and giants) popular theme in Greek art 6th century erection of grandiose Ionic temples on the Aegean Islands and the western coast of Asia minor treasuries small buildings set up for the safe storage of votive offering Grief by tearing hairs human figure reintroduced into Greek repertoire significant turning point to Greek art Narrative concept pronounced in a slightly later krater grave marker (krater) geometric ornament becomes secondary mourning scene is expanded concerned with specifying gender and not anatomical accuracy chariot accompanied by warriors drawn as if they were walking shields horses correct number of heads and legs but share a common body both are bearded and wear helmets man- larger than the monster to show the natural beauty of human figure hero is nude, in contrast to the Near Eastern statuettes legs of the calf and arms of the calf bearer unites it both physically and formally one notable way : the man smiles Archaic Greek sculptors way to show that his work is alive Kroisos from Anavysos far more naturalistic manner - head no longer larger than the body - face more rounded with swelling cheeks replacing the flat plans of earlier works flesh left with the natural color of the stone eyes, lips, hair, drapery painted encaustic pigment mixed with wax and applied to the surface while hot Korai stylistic sister to the Kroisos kouros peplos simple long woolen belted garment Peplos Kore affectionately known, was like the earlier statue of calf bearer contrast her identity with Lady of Auxerre is striking one of the latest dedications on the Acropolis to wear that garment Ionian chiton himation (mantle) Archaic sculptors delighted in rendering the intricate patterns Kore 21 , buried after Persian destruction assymetry of the folds greatly relieves the stiff frontality of the body o Vase Painting Black Figure Athenians learned it from Corinthians Francois Vase new kind of krater with volute-shaped handles two hundred figures in six friezes Labels abound, naming humans and animals alike Lapiths and centaurs battling age-old composite type profile heads with all face features on frontal view centaurs more believable than their Geometric predecessors

man horse combination Exekias acknowledged master of black figure Red Figure 530 B.C (birth) opposite of black figure use to paint only the outline instead of the actual figure red clay reserved for the figures themselves Andokides Painter does not yet appreciate full potential of his own invention Euphronios used diluted glaze Euthymides contemporary and competitor of Euphronios rejected frontal and profile conventions torsos that are no longer 2 dimensional but foreshortened Temple of Aegina and Aphaia both evolutionary and revolutionary are evident colonnade 45 by 95 feet, 6 Doric columns on the faade and twelve on the flanks Temple of Aphaia more slendy and widely spaced plan and internal elevation also refined filled with life-size statuary theme battle of the Greeks and Trojans Athena center of the combat, superhuman Aegina sculptures set in place around 490 B.C. some sculptures are destroyed and replaced but stayed in Archaic mode torso rigidly frontal and looks out directly at the spectator THE EARLY CLASSICAL PERIODS (5th century B.C) the beginning of Classical age is reckoned from a historical event, the defeat of Persian invaders of Greece by the allied Hellenic city-states. (480 B.C) Athens occupied and sacked, Greece won a decisive naval victory over the Persian. (494 B.C) Miletos was destroyed, the Persians killed the male inhabitants of the Greek city and sold the women and children into slavery. Typical of the time were the views of great dramatist Aeschylus, who celebrated his Oresteia (triumph of reason & law over barbarous crime, blood feud, and mad vengeance). - Aeschylus himself as veteran of epic battle of marathon, repudiated all the slavish & inhuman traits of nature. Removal of Persian threat leads to apogee of Greek civilization. This is the era of the dramatists Sophocles & Euripides as well as Aeschylus, of the historian Herodotus, the statesman Pericles, the philosopher Socrates and many of the most famous Greek architects, sculptors & painters. ARCHITECTURE & ARCHITECTURAL SCULTURE TEMPLE OF ZEUS, OLYMPIA (470 B.C- 457 B.C.) great monument in classical art site of the quadrennial Olympic games, had been established by Herakles the architect was Lisbon of Elis though its ruined, it reminds the effect of passage of time even the grandest monuments built by man Temple of Zeus, unlike the Temple of Hera, was lavishly decorated with exterior sculpture statues filled with both pediments and six metopes As well as the matching of six opisthodomos were decorated with reliefs TEMPLE OF HERA II Doric temple that was modeled closely upon the Olympian shrine of Zeus: the Second Temple of Hera (or Temple of Hera II) at Paestum. TEMPLE OF APHAIA, AEGINA The plans of both temples follow the pattern used for the Temple of Aphaia at Aegina.

an even number of columns (six) on short ends, two columns in antis, and two rows of columns in two stories inside the cella

EAST PEDIMENTS of the Temple of Zeus at Olympia The subject of East Pediments was the chariot race between Pelops and the King Oinamaos. Oinamaos had one daughter, Hippoclameia whom he did not want to marry He challenged all the suitors but only Pelops won because he bribed the kings groom Myrtilos so that Oinamaos would collapse Oinamaos was killed and Pelops won but he drowned Myrtilos and pay his debt Myrtilos brought a curse upon Pelops and his descendants This curse killed his son Atreus like the great Greek tragedies of the day, the three plays known as Aeschylus Oresteia: the sacrifice by Atreus son Agamemnon of his daughter Iphigeneia The killing Agamemnon by Agisthus, his wife, Clytaemnestras lover The pedimental statues posed like actors on stage, Zeus in the center, Oinamaos, Myrtilos, Pelos and Hippodameia and their chariots to each side. All is quiet, only one man react: A seer who knows the future SEER from the pediment of Temple of Zeus at Olympia Unlike the gods, Seer is rare depiction of old age He has a balding, wrinkled head and sagging masculature and horrified expression on his face. METOPE from the Temple of Zeus at Olympia Heracles is shown holding up the sky ( with the aid of Athena) in place of Atlas, who has undertaken the dangerous journey STATUARY Characterized by a final break from rigid and unnatural Egyptian pose of archaic kouroi Dedicated to Athenian Acropolis around 480 B.C, known as Kritios Boy because it have been carved by sculptor of Kritios KRITIOS BOY from Acropolis, Athens, 480 B.C This statue is our earliest evidence of sculpture whose concern is to portray how a real human being Real people do not stand in stiff-legged pose of the kouroi and korai Humans shift weight and the position of main parts of body around the vertical but flexible axis of the spine Kritios boy was among the first grasp to present statuary Theres a slight dip to the right hip, indicating shifting of weight onto the left leg Right leg is bent, even the head turns slightly to the right This weight shift is described as contraposto (counterbalance) The innovations of Kristios boy are carried even further in the bronze statue of a warrior found in the sea coast of Calabria near Riace at the toe of Italian boot. WARRIOR from the sea of Riace,c. (460-450 B.C) Formed by cargo of a ship Now known as Riace bronzes Discovered accidentally by a driver Although it undergo several years of cleaning and restoration, after two millennia of submersion in salt water, they are nearly intact Lacks of shield, spear and wreath It hollow-cast by the cire perdue (lost wax), method in which figure is molded in thin layer of wax and covered with clay The whole is fired , melting the wax and hardening the clay becomes a mold for molten metal, in this case bronze

Weight, cost and the tendency of large masses of bronze to distort when cooling make life-size castings in solid bronze Eyes might be inlaid Metals used to add color and add variety Silver for the teeth and eyelashes Copper for the lips and nipples

CHARIOTEER ,c 470 B.C High technical quality like Riace Warrior Commemorate the victory of the tyrant Polyzalos of Gela in a chariot race in the Pythian Games at Delphi The statue is almost all that remains of an enormous group composed of Polyzalos driver, the chariot , the team of horses and a young groom It stands in archaic pose The turn of head and feet in opposite direction as well as the slight twist of waist ZEUS OR POSEIDON from sea of Cape Artemision,c. 460-450 B.C Male human form in motion Found in a shipwreck, at Cape Artemision Bearded god with weapon in right hand, probably a thunderbolt In which case he is Zeus; a less likely suggestion is that this is Poseidon, lord of the sea with his trident The pose look like a youthful javelin-thrower Both arms are boldly extended and right heel is raised off the ground MYRON AND POLYKLEITOS A bronze statue of similar character was the renowned Diskobolos (discus-thrower) of Myron An intrusive tree trunk to support weight Struts between arms and body strengthen weak points Vigorous action statue with profile limbs and nearly frontal chest Like the arm of a pendulum clock A tightly stretch bow Expressionless DORYPHOROS of Polykleitos(450-440 B.C) Stood in a palestra at Pompeii where it served a model of Roman athletes exercising Famous was this fifth century statue that the bronze herm (a bust on a quadrangular pillar) is inscribed only with the name of the copyist: the owner of Roman villa and his educated guests did not need a label reidentity the head as that Polykleitos Doryphoros

POLYKLEITOS, DORYPHOROS c. 450 440 B.C. The embodiment of principles and was created to illustrate the treatise Spear-bearer descriptive title for the statue; the name assigned to it by Polykleitos was Canon Galen, who lived during second century, summarized the sculptor principle of symmetria (commensurability of parts) Evolution of Kritios Boy to the Riace warrior THE ATHENIAN ACROPOLIS Under the leadership of Pericles, were at work on one of most ambitious building projects, reconstructions of Acropolis after the Persians sack of 480 B.C.

Famous portrait of Pericles was fashioned by Kresilas, a contemporary of Polykleitos, was born on Crete but worked in Athens KRESILAS, PERICLES Took the form of a bronze statue set up on the Acropolis, probably after death of Pericles in 429 B.C It portrays Pericles wearing helmet of a strategos (general), the position which he was elected fifteen times Pericles was said to have an abnormally elongated skull Glimpse through the helmets eye slots of the hair at the top of Pericles head The perfect physique of the body of full-length portrait PARTHENON (447 438 B.C.) The centerpiece of Pericles great building program on the Acropolis was the Parthenon A construction was commenced on a gateway to the Acropolis from the west, the Propylaia in 437 B.C It was left unfinished in 431 B.C at the outbreak of the Peloponnesians war between Athens and Sparta Two later temples, the Erechtheion and the Temple of Athena Nike

RESTORED VIEW OF ACROPOLIS The construction and decoration of the four buildings were focus of attention of the greatest Athenians architects and sculptors of the age Each time the building was remodeled for use by different religion In 1687, the Venetians besieged the Acropolis which at that time was in Turkish hands, one of the rockets hit on the ammunition depot that they have installed in part of the Parthenon The resultant explosion blew out the center of the building To make matters worse, Venetians tried to remove some statues from pediments of Parthenons, statues were dropped and smashed on the ground A great campaign has been created to protect the columns and walls And a little original sculpture remain in situ when modern restoration began IKTINOS AND KALLIKRATES (447 438 B.C) Most of the Peripteral colonnade of the Pathernon is still standing and we know a great deal about the building and its sculptural program Architects were Iktinos and Kallikrates The cult statue was work of Phidias, who was also the overseer of all the sculptural decoration

PLAN OF THE PARTHENON, WITH THE DIAGRAM OF SCULPTURAL PROGRAM The controlling ratio for the symmetria of the parts maybe expressed as algebraically as x=2y+1, where x is the larger number y is the smaller number The ratio of the length of the stylobate to its width is 9:4 Constructed with a regular shaped Strictly horizontal and vertical lines The stylobate curves upward at the center on both sides forming a kind of a shallow dome

 PHIDIAS, ATHENS PARTHENOS, c. 438 B.C model of the lost statue It was a chryselephantine statue, fashioned of gold and ivory 38 feet tall The cella had to be wider to accommodate huge size of the statue The latter used for the expose flesh of Athena Athena was fully armed with shield, spear and helmet, and held Nike (the winged female personification of victory) in her extended right hand The exterior of her shield was emblazoned with high relief depicting the battle of Greeks and Amazons LAPHIT VS CENTAUR, METOPE FROM THE SOUTH SIDE OF THE PARTHENON, c 447 438 B.C A triumphant centaur rises up on his hind legs, exulting over the crumpled body of the Greek whom he has defeated Powerful form of the living beast from the lifeless corps on the ground Greeks have the upper hand, but the full set suggests that the battle was a difficult one against a dangerous enemy Subjects of two pediments were appropriate for a temple that celebrated not only Athena but the Athenians

HELIOS AND HIS HORSES, DIONYSOS (HERAKLES?) c. 438 432 B.C Helios (the sun) and horses of his chariot rising from the floor of the pediment Next to them is a powerful male figure usually identified as Dionysos or possibly Herakles, who was awarded immortality and entered the realm of the gods upon completion of his twelve labors THREE GODDESSES (HESTIA, DIONE AND APHRODITE) 438 432 B.C Three goddesses, probably Hestia, Dione, and Aphrodite or either Selene (the moon) or Nyx (Night) and more horses, this time sinking below the pediments floor The reclining figures fill the space beautifully Dionysos/Herakles and Aphrodite in the lap of her mother Dione are monumental Olympian presences yet totally relax

HORSEMEN, DETAIL OF THE NORTH FRIEZE OF THE PATHERNON c. 447 438 B.C The subject of this Frieze is still debated by scholars but most of them agreed that it represent a Panathenaic Festival took place every four years in Athens Another example of extraordinarily high opinion Athenians had The procession began in the market place and ended on the Acropolis, where new peplos was placed on an ancient wooden statue of Athena SEATED GODS AND GODDESSES c. 447 438 B.C The momentum picks up as the cavalcade moves from the lower town to the Acropolis Accompanied by chariots, musicians, jar carriers, and animals destined for sacrifices

 PROCESSION OF ELDERS AND MAIDENS c. 447 438 B.C Invited guests, watch the procession slow almost to a halt as it nears is goal at the shrine of Athenas ancients idol Parthenon celebrate greatness of Athens and the Athenians as much as it honors Athena

PROPYLAIA The architect entrusted with his important commission was Mnesikles, and he apparently was given a liberal budget because the gateway is constructed entirely Pentelic marble Mnesikles succeeded in disguising the change in ground level by splitting the building into eastern and western sections ERECHTHEION c. 421-405 B.C In 421 B.C work was finally begun on the temple that was replace to the Archaic Athena temple that had been raised by the Persian A composite shrine It honored Athena but also incorporated shrines to other gods and demigods that was the goal of Panathenaic Festival procession

PLAN OF THE ERECHTHEION The asymmetrical plan of the Ionic Erechtheion Irregular form reflects the need to incorporate the tomb of Kekrops and other preexisting shrines The trident mark, and the olive tree into a single complex Nameless architect responsible for the building also had to struggle with the problem of irregular terrain SOUTH PORCH OF THE ERECHTHEION Where caryatids replace ionic column, as they did a century earlier on the ionic treasury of the Siphnians and Delphi

TEMPLE OF ATHENA NIKE Another Ionic on the Athenian Acropolis Designed by Kalikrates who worked with Iktinos on the Pathernon Has an amphiprostyle with four columns on both east and west Stands on what used to be a Mycenaean bastion near the Propylaia and greeted all visitors entering Athenas great sanctuary

RELIEF SCULPTURE Nike adjusting her sandal, from the south side of the Parapet of the Temple of Athena Nike, Acropolis Athens c. 410 B.C GRAVES STELE OF HEGESO A beautiful and touching grave stele Woman seated on an elegant chair who is examining a piece of jewelry brought by her servant girl PAINTING

Lekythoi (flasks containing perfume oil) that were placed in Greek graves as offering to deceased One of the finest vases is painted by the so-called Achilles painter Warrior taking leave of his wife NIOBID PAINTER c. 455 450 B.C

Apollo and Artemis is slaying the children of Niobe who had dozen children were boasted that she was superior to the goddess Leto To punish her hubris (arrogance) and teach that no mortal could be superior to a god or goddess PHIALE PAINTER c. 440 435 B.C

Hermes bringing the infant Dionysos to Papposilenos The subject is Hermes handling his half brother Dionysos to Papposilenos YOUTH DIVING, PAINTED CEILING OF THE TOMB OF THE DIVER, PAESTUM c. 480 B.C

Youth diving from a stone platform into a body of water Symbolizes the plunged from this life into the next Three resembling those of Niobid krater, also include decorative frames The Late Classical Period (Fourth Century B.C.) Peloponmesian War

began in 1431 B.C. -404 B.C. Sparta then Thebes

took the leadership of Greece Battle of Chaeronea

338 B.C. Greek poleis suffered a devastating loss Fourth Century

time of political upheaval in Greece Fifth Century

general belief that human beings could impose order upon their environment creating perfect statues discover tge correct mathematical formulas to construct temples like Parthenon Greek art began to focus on the real world

Sculpture Praxiteles and his followers Humanizing approach to art is immediately apparent The themes of the sculptors are not rejected and the gods and goddesses of the Mt. Olympus retain their superhuman beauty,but they lose some of their grandeur. Aphrodite of Knidos 350-340 B.C. Approx. 68 Superior to all the works Made the island of Knidos famous

People will sailed there just to see the statue Representing the goddess of love completely nude Female nudity was exceedingly rare It is not a cold and remote image It is not openly erotic Head of woman from Chios 320-300 B.C. Approx. 14 Suggests softness of the young girls face and the dewy gaze of the eyes Sharp outline of precisely measured body parts Smooth flow of flesh from forehead to chin and to a very human sensuousness

Hermes and the infant Dionysos Praxiteles 340 B.C. Approx. 71 Brings to realm of monumental statuary It has a slender body forms a sinuous,shallow S-curve Hallmark of many Praxiteless statues He looks of dreamily into space while he dangles a bunch of grapes The modeling is deliberately smooth and subtle Apollo Belvedere 330 B.C. Approx. 74 The attribution is tenuous

It was considered to be the crowning achievement of Greek sculpture. Original statue was nonetheless very impressive Apollos foot just landed on the ground Skopas,Lysippos and others Archaic period and throughout most of the Early and High Classical periods- Greek generally shared common goals Late Classical period- distinctive individual styles emerge Skopas of Paros His style is marked by intense emotionalism He designed the temple of Athena Alea at Tegea Head of Herakles or Telephos 340 B.C. Approx. 12 The head is highly dramatic The expression on the face is one of the great psychological tensionc The eyes are large and set deeply into head The fleshy overhanging brows create deep shadings The lips are slightly parted Grave Stele of a young hunter 340-330 B.C. Approx. 56 It was originally set into an architectural frame

sculptures

Lysippos of Sikyon Renowned that he was selected by Alexander the Great to fashion his official portrait Introduced a new canon of proportions in which the bodies the bodies were more slender than those of Polykleitos Apoxyomenos Lysippos 330 B.C. Approx. 69 An athlete scraping oil from his body after exercising The strigil (scraper) is about to reach the end of the right arm and at any moment it will be switched to the other hand so that the left arm can be scraped Dominance of frontal view Breaks out of the shallow rectangular cube

Weary Herakles (Farnese Herakles) Glykon of Athens 320 B.C. Approx. 105 The muscle-bound Greek hero provided inspirations for Romans who came there to exercise The exaggerated muscular development of Herakles is poignantly ironic He holds the golden apple of the Hesperides in his right hand Alexander the Great and Macedonian Court Art Alexanders favorite book was the Iliad and his own life was very much like an epic saga,full of heroic battles,exotic places ,and unceasing drama He was an extraordinary man Lysipposhad capture his essence in a portrait On the base was inscribedan epigram stating that the statue depicted Alexander gazing at Zeus Head of Alexander the Great Lysippo 200-150 B.C. Approx. 12 It has the sharp turn of the head and thick mane of hair that were key ingredients of Lysipposs portrait Deep-set eyes and parted lips recall the manner of Skopas Gnosis Stag Hunt 300 B.C. Approx. 102 The finest pebble mosaic yet to come to light at Pella Bordered in turn by an intricate floral pattern and a stylized wave motif Light figures against a dark ground The palace of Alexander has not been excavated Mosaic had a rather simple and utilitarian beginning and seems to have been invented primarily for the purpose of developing inexpensive and durable flooring The patterns are simple and were confined to geometric shapes Black and white stones were used The stones were arranged to form more complex pictorial designs

Mosaic and Painting

Contour lines and the intertior details are defined by thin strips of lead and some of racotta Interior volumes are suggested by subtle gradations of yellow , brown and red as well as black , white and gray pebbles Skiagraphia literally shadow painting and it was invented by Apollodoros Rhadymanthos 300 B.C. Approx. 39 Articulatedwith engaged columns on either side of the entrance Four large figures At the far left, the deceased , dressed as a Macedonian soldier Then the god of Hermes Two judges of the dead .Aiakos,seated Rhadymanthos, leaning on his staff Middle of the third century A new technique had been inventad which is tesserae (tiny stones or pieces of glass)cut into desired size and shape Battle of Issus Darius fled from the battle field in his chariot in ignominious defeat Widely believed to be a reasonably faithful copy of a famous panel painting Other details are even more impressive Psychological intensity of the drama

Architecture Polykleitos the Younger Epidauros theater Probably constructed shortly after Alexander the Great was born It is still used for performances like ancient rites ,songs , dances, and even religious rites Orchestra-dancing place Theres an alatar placed on the center of the circle for Dionysos It is always situated on a hillside Composed of wedge-shape sections of stone benches separated by stairs 387 feet in diameter with fifty-five rows Seats accommodated about 12 thousand spectators The design is quite simple but perfectly suited for its function Corinthian capital More ornate than either the Doric or Ironic It consisits of a double row of acanthus leaves from which trendils and flowers grow , wrapped around a bell-shaped echinus Originally invented by Kallimachos Proved to be enormously popular in later Greek and especially Roman times Ionic capital Has two distinct profiles Doric Has three supposedly inflexible rules The Hellenistic Period Traditionally reckoned from the death of Alexander in 323 B. C. Center of cultures were the court cities of Greek kings

Sculpture

Temple of Apollo and Didyma Two architects Paionios of Ephenos and Daphnis of Miletos It was built to replace the Archaic temple Over five hundred years this project was never completed It has no roof It was dipteral in plan Civic and Domestic Architecture Hippodamos of Miletos father of rational city planning His plan impose a strict grid plan upon the site Hippodamian plan- separate quarters for public , private and religious functions City of Priene 4th century B.C. Had fewer than thousand inhabitants Scanty- the homes of ordinary citizens Houses Courtyard was framed by a peristyle and paved with a pebbled mosaic It has columns Courtyards served for collection of rainwater Kitchen and bedroom would not be far away from court Stoa of Attalos II 150 B.C. It has two stories each with 21 shops opening onto the connade The columns on the lower story is Doric and Ionic on upper Altar of Zeus from Pergamon 175 B.C. Erected on the Pergamene acropolis in honor of Zeus Proper was on an elevated platform and framed by an Ionic Stoa-like colonnade The subject is battle of the gods, led by Zeus against giants Athena battling Alkyoneos Approx. 76 A quotation of the Athena from the east pediment of the Parthenon , and Zeus himself is based on the Poseidon of the west pediment. Detail of the gigantomachy frieze of altar of zeus Emotional intensity to the tumultuous narrative that is without parallel on earlier monuments Gallic chieftain killing himself and his wife 230-220 B.C. Approx. 611 Defiantly driving a sword into his own chest just below the collarbone Dying Gaul 230-220 B.C. Approx.36 high He is a trumpeter who has a collapsed upon his large oval shield The male nusculature is rendered in an exxagerated manner.

Sculpture Nike of samothrace 190 B.C. Approx. 81 Just alighted on the prow of a Greek warship Her wings are still beating and her drapery is swept by the wind

Her chiton pulled tightly across her abdomen and left leg Venus de Milo Alexandros of Antioch on the Meander 150-125 B.C. Approx. 67

Over life size marble statue of Aphrodite found on Melos Shes more modestly draped but more overtly sexual Her left hand(separately preserved) held the apple she was awarded by Paris Aphrodite , Eros and Pan 100 B.C. 130 cm Shown resisting the lecherous advances of semihuman , semigoat Pan She defends herself with one slippers while her loyal son , Eros flies to grab one of Pans horn Aphrodite and Eros are portrayed as almost laughing Sleeping Eros 150-100 B.C. 33 Shown as pudgy infant Babies are all too frequently rendered as miniature adults Sleeping Satyr (Barberini Faun) Gianlorenzo Bernini 230-200 B. C. 71 Drunken sleep is the subject Eroticism also comes to the force Archaic kouri and Classical athletes and gods do not exude sexuality Homosexuality was common in the mans world of Ancient Greece Seated Boxer 100-50 B.C. 4 It is not a victorious young athlete with a perfect face and body Hands wrapped in leather thongs His cheeks and forehead are scarred Old market woman 150-100 B.C. 49 Haggard woman bringing chickens and basket of fruits and vegetables Her face is wrinkled ,body is bent with age , and it seems that she is broken by a lifetime poverty Demosthenes

Polyeuktos 280 B.C. 67 An old amd slightly stooped body His face is lined,his hair is receding and his expression is one of the great sadness Hellenistic Art under Roman Patronage Laocoon and his son Athanadoros,Hagesandros,Polydoros 710 Giving birth to the branch of philosophy known as esthetics

Describes the strangling of the Trojan priest Laocoon and his two sons sacrificing st an altar Head of Odysseus Athanadoros,Hagesandros and Polydoros of Rhodes 25 One of the finest sculptures of antiquity Heros cap can barely contain the swirling locks of his hair Emotional Intensity Parted lips and the deep shadows produced by sharp undercutting add drama to the head