GREEK ART

HUMANITIES

Ligaya DeLos Santos

CEIT-01-603P
Origins
Aegean art of Classical Antiquity dates back to Minoan culture of the Third
Millennium BCE, when the inhabitants of Crete, known as Minoans after
their King Minos, began to establish a thriving culture around 2100 BCE,
based on their successful maritime trading activities. Influenced
by Sumerian art and other strands of Mesopotamian art, they built a series
of palaces at Knossos, Phaestus and Akrotiri, as well as the creation of a
wide range of fresco painting, stone carvings, ancient pottery and other
artifacts. During the 15th century BCE, after a catastrophic earthquake,
which destroyed most of her palaces, Crete was overrun by warlike
Mycenean tribes from the Greek mainland. Mycenean culture duly became
the dominant force in the eastern Mediterranean. Then, not long after
launching the Trojan War (c.1194–1184), the city of Mycenae, along with
its architecture and cultural possessions, was destroyed by a new set of
maurauders, known as Dorians. At this point, most production of ancient
art came to a standstill for about 400 years (1200-800), as the region
descended into an era of warring kingdoms and chaos, known as the "Greek
Dark Ages" (or the Geometric or Homeric Age).
Historical Background
Ancient Greek art proper "emerged" during the 8th century BCE (700-800),
as things calmed down around the Aegean. (See also Etruscan art) About
this time, iron was made into weapons/tools, people started using an
alphabet, the first Olympic Games took place (776), a complex religion
emerged, and a loose sense of cultural identity grew up around the idea of
"Hellas" (Greece). By about 700, kingdoms began to be replaced by
oligarchies and city-states. However, early forms of Greek art were largely
confined to ceramic pottery, as the region suffered continued disruption
from widespread famine, forced emigration (many Greeks left the mainland
to colonize towns in Asia Minor and Italy), and social unrest. This restricted
the development of architecture and most other types of art. Not until about
650, when maritime trade links were re-established between Greece and
Egypt, as well as Anatolia, did Greek prosperity finally return and facilitate
an upsurge of Greek culture.
Chronology of Greek Art
The practice of fine art in ancient Greece evolved in three basic stages or
periods:
• Archaic Period (c.650-480 BCE)
• Classical Period (c.480-323 BCE)
• Hellenistic Period (c.323-27 BCE).
The Archaic era was a period of gradual experimentation. The Classical era
then witnessed the flowering of mainland Greek power and artistic
domination. The Hellenistic Period, which opened with the death of
Alexander the Great, witnessed the creation of "Greek-style art" throughout
the region, as more and more centres/colonies of Greek culture were
established in Greek-controlled lands. The period also saw the decline and
fall of Greece and the rise of Rome: in fact, it ends with the complete
Roman conquest of the entire Mediterranean basin.
NOTE: It is important to note from the outset, apart from pottery, nearly all
original art from Greek Antiquity - that is, sculpture, mural and panel
paintings, mosaics, decorative art - has been lost, leaving us almost entirely
dependent upon copies by Roman artists and a few written accounts. As a
result, our knowledge of the chronology, evolution and extent of Greek
visual culture is bound to be extremely sketchy, and should not be taken too
seriously. The truth is, with a few exceptions, we know very little about the
identity of Greek artists, what they painted or sculpted, and when they did
it. For later artists inspired by the classical sculpture and architecture of
ancient Greece, see: Classicism in Art (800 onwards).
Archaic Period (c.650-480 BCE)
Archaic Greek Pottery
The most developed art form of the pre-Archaic period (c.900-650) was
undoubtedly Greek pottery. Often involving large vases and other vessels, it
was decorated originally with linear designs (proto-geometric style), then
more elaborate patterns (geometric style) of triangles, zigzags and other
similar shapes. Geometric pottery includes some of the finest Greek
artworks, with vases typically made according to a strict system of
proportions. From about 700, renewed contacts with Anatolia, the Black
Sea basin and the Middle East, led to a noticeable eastern influence
(Oriental style), which was mastered by Corinth ceramicists. The new
idiom featured a wider repertoire of motifs, such as curvilinear designs, as
well as a host of composite creatures like sphinxes, griffins and chimeras.
During the Archaic era itself, decoration became more and more figurative,
as more animals, zoomorphs and then human figures themselves were
included. This ceramic figure painting was the first sign of the enduring
Greek fascination with the human body, as the noblest subject for a painter
or sculptor: a fascination rekindled in the High Renaissance painting of
Michelangelo and others. Another ceramic style introduced by Corinth
was black-figure pottery: figures were first drawn in black silhouette, then
marked with incised detail. Additional touches were added in purple or
white. Favourite themes for black-figure imagery included: the revels of
Dionysus and the Labours of Hercules. In time, Athens came to dominate
black-figure style pottery, with its perfection of a richer black pigment, and
a new orange-red pigment which led to red-figure pottery - an idiom that
flourished 530-480. Famous Greek Archaic-era ceramic artists included the
genius Exekias, as well as Kleitias (creator of the celebrated Francois
Vase), Andokides, Euthymides, Ergotimos, Lydos, Nearchos and Sophilos.
For more details and dates, see: Pottery Timeline.
Archaic Greek Architecture
It was during 6th and 7th centuries that stone was used for Greek public
buildings (petrification), especially temples. Greek architecture relied on
simple post-and-lintel building techniques: arches weren't used until the
Roman era. The typical rectangular building was surrounded by a line of
columns on all four sides (see, for instance, the Parthenon) or, less often, at
the front and rear only (Temple of Athena Nike). Roofs were constructed
with timber beams overlaid with terracotta tiles. Pediments (the triangular
shape at each gable end) were decorated with relief sculpture or friezes, as
was the row of lintels between the roof and the tops of the columns. Greek
architects were the first to base their architectural design on the standard of
proportionality. To do this, they introduced their "Classical Orders" - a set
of design rules based on proportions between individual parts, such as the
ratio between the width and height of a column. There were three such
orders in early Greek architecture: Doric, Ionic and Corinthian. The Doric
style was used in mainland Greece and later Greek settlements in Italy. The
Ionic order was used in buildings along the west coast of Turkey and other
Aegean islands. Famous buildings of ancient Greece constructed or begun
during the Archaic period include: the Temple of Hera (600), the Temple of
Athena on the Acropolis (550), and the Temples at Paestum (550 onwards).
See also: Egyptian Architecture (c.3000 BCE onwards) and the importance
of Egyptian architects such as Imhotep and others.
Greek architecture continued to be highly influential on later styles,
including Renaissance as well as Neoclassical architecture, and
even American architecture of the 19th and 20th century.
The history of art shows that building programs invariably stimulated the
development of other forms of fine art, like sculpture and painting, as well
as decorative art, and Archaic Greek architecture was no exception. The
new temples and other public buildings all needed plenty of decorative
sculpture, including statues, reliefs and friezes, as well as mural
painting and mosaic art.
Archaic Greek Sculpture
Archaic Greek sculpture during this period was still heavily influenced
byEgyptian sculpture, as well as Syrian techniques. Greek sculptors created
stone friezes and reliefs, as well as statues (in stone, terracotta and bronze),
and miniature works (in ivory and bone). The early style of
freestanding Daedalic sculpture (650-600) - as exemplified by the works
of Daedalus, Dipoinos and Skyllis - was dominated by two human
stereotypes: the standing nude youth (kouros) and the standing draped girl
(kore). Of these, the male nudes were seen as more important. To begin
with, both the kouros and the kore were sculpted in a rather rigid, "frontal",
Egyptian style, with wide-shoulders, narrow-waists, arms hanging, fists
clenched, both feet on the ground, and a fixed "archaic smile": see, for
instance, Lady of Auxerre (630, Louvre) and Kleobis and Biton (610-580,
Archeological Museum of Delphi). As time passed, the representation of
these formulaic statues became less rigid and more realistic. Later, more
advanced, Archaic versions of kouroi and korai include the "Peplos Kore"
(c.530, Acropolis Museum, Athens) and the "Kritios Boy" (Acropolis
Museum, Athens). Other famous works include: the Strangford
Apollo (600-580, British Museum); the Dipylon Kouros (c.600, Athens,
Kerameikos Museum); the Anavysos Kouros (c.525, National Archeological
Museum of Athens); and the fascinating frieze of the Siphnian Treasury,
Delphi (c.525).

Archaic Greek Painting
Since most vases and sculptures were painted, the growth of pottery and
sculpture during the 7th century led automatically to more work for Greek
painters. In addition, the walls of many temples, municipal buildings and
tombs were decorated with fresco painting, while their marble or wooden
sculpture was coloured with tempera or encaustic paint. Encaustic had some
of the lustre of oil painting, a medium unknown to the Greeks, and became
a popular painting method for stone statues and architectural reliefs during
the sixth century. Archaic Greek painting boasts very few painted panels:
the only examples we have are the Pitsa panels decorated in stucco coloured
with mineral pigments. Unfortunately, due to erosion, vandalism and
destruction, few original Greek paintings have survived from this period.
All that remains are a few painted slabs of terracotta (the terracotta metopes
from the temple of Apollo at Thermon in Aitolia c.630), some wooden
panels (the four Pitsa panels found in a cave in the northern Peloponnese),
and murals (such as the 7th century battle scene taken from a temple at
Kalapodi, near Thebes, and those excavated from underground tombs in
Etruria). Apart from certain individuals, like Cimon of Cleonae, the names
of Archaic Greek painters are generally unknown to us. The most prevalent
art form to shed light on ancient Greek painting is pottery, which at least
gives us a rough idea of Archaic aesthetics and techniques. Note, however,
that vase-painting was seen as a low art form and is rarely referred to in
Classical literature.
Classical Period (c.480-323 BCE)
Victory over the Persians in 490 BCE and 479 BCE established Athens as
the strongest of the Greek city states. Despite external threats, it would
retain its leading cultural role for the next few centuries. Indeed, during the
fifth century BCE, Athens witnessed a creative resurgence which would not
only dominate future Roman art, but when rediscovered by Renaissance
Europe 2,000 years later, would constitute an absolute artistic standard for
another four centuries. All this despite the fact that most Greek paintings
and sculptures have been destroyed.
The main contribution of Greek Classicism to fine art, was undoubtedly its
sculpture: in particular, the "Canon of Proportions" with its realization of
the "ideal human body" - a concept which resonated so strongly with High
Renaissance art, a thousand years later.
Classical Greek Pottery
During this era, Ceramic art and thus vase-painting experienced a
progressive decline. Exactly why, we don't know, but, judging by the lack
of innovations and the increasing sentimentality of the designs, the genre
appears to have worn itself out. The final creative development was
the White Groundtechnique, which had been introduced around 500.
Unlike the black-figure and red-figure styles, which relied on clay slips to
create pictures, the White Ground technique employed paint and gilding on
a white clay background, and is best illustrated by the funerary lekythoi of
the late 5th century. Apart from this single innovation, classical Greek
pottery declined significantly in both quality and artistic merit, and
eventually became dependent on local Hellenistic schools.
Classical Greek Architecture
Like most Greek visual art, building design reached its apogee during the
Classical period, as the two main styles (or "orders") of Greek architecture,
the Doric and the Ionic, came to define a timeless, harmonious, universal
standard of architectural beauty. The Doric style was the more formal and
austere - a style which predominated during the 4th and 5th centuries -
while the Ionic was more relaxed and somewhat decorative - a style which
became more popular during the more easy-going Hellenistic era. (Note:
The Ionic Order later gave rise to the more ornate Corinthian style.)
The highpoint of ancient Greek architecture was arguably the Acropolis,
the flat-topped, sacred hill on the outskirts of Athens. The first temples,
erected here during the Archaic period, were destroyed by the Persians in
480, but when the city-state entered its golden age (c.460-430), its
ruler Periclesappointed the sculptor Phidias to oversee the construction of a
new complex. Most of the new buildings (the Parthenon, the Propylaea)
were designed according to Doric proportions, though some included Ionic
elements (Temple of Athena Nike, the Erechtheum). The Acropolis was
added to, several times, during the Hellenistic and Roman eras.
The Parthenon (447-432), remains the supreme example of classical Greek
religious art. In its day, it would have been embellished with numerous
wall-paintings and sculptures, yet even relatively devoid of adornment it
stands as an unmistakeable monument to Greek culture. The biggest temple
on the Acropolis hill, it was designed by Ictinusand Callicrates, and
dedicated to the Goddess Athena. It originally housed a colossal multi-
coloured statue entitled Athena the Virgin (Athena Parthenos), whose skin
was sculpted by Phidias from ivory and whose clothes were created from
gold fabric. Like all temples, the Parthenon was decorated throughout with
architectural sculpture like reliefs and friezes, as well as free-standing
statues, in marble, bronze and chryselephantine. In 1801, the art collector
and antiquarian Lord Elgin (1766-1841) controversially shipped a large
quantity of the Parthenon's marble sculpture (the "Elgin Marbles") to
the British Museumin London.
Other famous examples of Classical Greek architecture include: the Temple
of Zeus at Olympia (468-456), the Temple of Hephaistos (c.449 BCE), the
Temple at Bassae, Arcadia (c.430), which contained the first Corinthian
capital, the Theatre at Delphi (c.400), the Tholos Temple of Athena Pronaia
(380-360), the Mausoleum at Harnicarnassus, Bodrum (353), the Lysicrates
Monument in Athens (335), and the Temple of Apollo at Delphi (330).
Classical Greek Sculpture
In the history of sculpture, no period was more productive than the 150
years between 480 and 330 BCE. As far as plastic art is concerned, there
may be sub-divided into: Early Classical Greek Sculpture (480-450), High
Classical Greek Sculpture (450-400), and Late Classical Greek
Sculpture (400-323).
During the era as a whole, there was a huge improvement in the technical
ability of Greek sculptors to depict the human body in a naturalistic rather
than rigid posture. Anatomy became more accurate and as a result statues
started to look much more true-to-life. Also, bronze became the main
medium for free-standing works due to its ability to maintain its shape,
which permitted the sculpting of even more natural-looking poses. Subjects
were broadened to include the full panoply of Gods and Goddesses, along
with minor divinities, an extensive range of mythological narratives, and a
diverse selection of athletes. Other specific developments included: the
introduction of a Platonic "Canon of Proportions", to create an idealized
human figure, and the invention of contrapposto. During the Late Classical
era, the first respectable female nudesappeared.
Among the best known sculptors of the period, were: Myron (fl.480-
444), Polykleitos (fl.450-430), Callimachus (fl.432-408), Skopas (fl.395-
350),Lysippos (c.395-305), Praxiteles (fl.375-335), and Leochares (fl.340-
320). These artists worked mainly in marble, bronze, occasionally wood,
bone, and ivory. Stone sculpture was carved by hand from a block of marble
or a high-quality limestone, using metal tools. These sculptures might be
free-standing statues, or reliefs/friezes - that is, only partially carved from a
block. Bronze sculpture was considered to be superior, not least because of
the extra cost of bronze, and were typically cast using the lost wax method.
Even more expensive was chryselephantine sculpture which was reserved
for major cult statues. Ivory carving was another specialist genre, for small-
scale, personal works, as was wood-carving.
As mentioned above, the Parthenon was a typical example of how the
Greeks used sculpture to decorate and enhance their religious buildings.
Originally, the Parthenon's sculptures fell into three groups. (1) On the
triangular pediments at either end were large-scale free-standing groups
containing numerous figures of Gods and mythological scenes. (2) Along
both sides were almost 100 reliefs of struggling figures including Gods,
humans, centaurs and others. (3) Around the whole building ran another
relief, some 150 metres in length, which portrayed the Great Panathenia - a
religious 4-yearly festival in praise of Athena. Despite being badly
damaged, the Parthenon sculptures reveal the supreme artistic ability of
their creators. Above all, they - like many other classical Greek sculptures -
reveal an astonishing sense of movement as well as a noted realism of the
human body.
The greatest sculptures of the Classical era include: Leonidas, King of
Sparta(c.480), The Charioteer of Delphi (c.475); Discobolus (c.450) by
Myron; The Farnese Heracles (5th Century); Athena Parthenos (c.447-5)
by Phidias; Doryphorus (440) by Polykleitos; Youth of Antikythera (4th
Century); Aphrodite of Knidos (350-40) by Praxiteles; and Apollo
Belvedere (c.330) by Leochares.
Compare: Early Roman Art (c.510 BCE to 27 BCE).
Classical Greek Painting
Classical Greek painting reveals a grasp of linear perspective and naturalist
representation which would remain unsurpassed until the Italian High
Renaissance. Apart from vase-painting, all types of painting flourished
during the Classical period. According to authors like Pliny (23-79 CE) or
Pausanias (active 143-176 CE), the highest form was panel painting, done
in encaustic or tempera. Subjects included figurative scenes, portraits and
still-lifes, and exhibitions - for instance at Athens and Delphi - were
relatively common. Alas, due to the perishable nature of these panels along
with centuries of looting and vandalism, not a single Greek Classical panel
painting of any quality has survived, nor any Roman copy.
Fresco painting was a common method of mural decoration in temples,
public buildings, houses and tombs but these larger artworks generally had a
lower reputation than panel paintings. The most celebrated extant example
of Greek wall painting is the famous Tomb of the Diver at Paestum (c.480),
one of many such grave decorations in the Greek colonies in Italy. Another
famous work was created for the Great Tomb at Verfina (c.326 BCE),
whose facade was decorated with a large wall painting of a royal lion hunt.
The background was left white, with landscape being indicated by a single
tree and the ground line. As well as the style of its background and subjects,
the mural is noted for its subtle depictions of light and shadow as well as the
use of a technique called Optical Fusion (the juxtaposition of lines of
different colours) - a rather curious forerunner of Seurat's 19th
century Pointillism.
The painting of stone, terracotta and wood sculpture was another specialist
technique mastered by Greek artists. Stone sculptures were typically painted
in bold colours; though usually, only those parts of the statue which
depicted clothing, or hair were coloured, while the skin was left in the
natural stone colour, but on occasion the entire sculpture was painted.
Sculpture-painting was viewed a distinctive art - an early type of mixed-
media - rather than merely a sculptural enhancement. In addition to paint,
the statue might also be adorned with precious materials.
The most famous 5th century Classical Greek painters
included: Apollodorus(noted for his Skiagraphia - a primitive type
of chiaroscuro); his pupil, the great Zeuxis of Heraclea (noted for his easel-
paintings and trompe l'oeil); as well as Agatharchos (the first to have used
graphical perspective on a large scale); Parrhasius (best known for
his drawing, and his picture of Theseus in the Capitol at Rome);
and Timarete (one of the greatest female Greek painters, noted for a panel
painting at Ephesus of the goddess Diana).
During the late classical period (400-323 BCE), which saw the flourishing
of the Macedonian Empire under Philip II and his son Alexander the Great,
Athens continued to be the dominant cultural centre of mainland Greece.
This was the high point of ancient Greek painting, with artists like the
talented and influential Apelles of Kos - official painter to Philip II of
Macedonia and his son Alexander the Great - adding new techniques of
highlighting, shading and colouring. Other famous 4th century artists
included Apelles' rivals Antiphilus(a specialist in light and shade, genre
painting and caricature) and Protogenes(noted for his meticulous
finishing); Euphranor of Corinth (the only Classical artist to excel at both
painting and sculpture); Eupompus (founder of the Sicyon school); and the
history painter Androkydes of Cyzicus (known for his cntroversial history
painting depicting the Battle of Plataea).
Hellenism (c.323-27 BCE)
The period of Hellenistic art opens with the death of Alexander the
Great(356-323) and the incorporation of the Persian Empire into the Greek
world. By this point, Hellenism had spread throughout the civilized world,
and centres of Greek arts and culture included cities like Alexandria,
Antioch, Pergamum, Miletus, as well as towns and other settlements in Asia
Minor, Anatolia, Egypt, Italy, Crete, Cyprus, Rhodes and the other islands
of the Aegean. Greek culture was thus utterly dominant. But the sudden
demise of Alexander triggered a rapid decline of Greek imperial power, as
his massive empire was divided between three of his generals - Antigonus
I who received Greece and Macedonia; Seleucus I who took over
controlled Anatolia, Mesopotamia and Persia; and Ptolemy I who ruled
Egypt. Paradoxically therefore, this period is marked by massive Greek
cultural influence, but weakening Greek power. By 27 BCE, Greece and its
empire would be ruled from Ancient Rome, but even then, the Romans
would continue to revere and emulate Greek art for centuries.
Hellenistic Architecture
The division of the Greek Empire into separate entities, each with its own
ruler and dynasty, created huge new opportunities for self-aggrandisement.
In Asia Minor, a new capital city was built at Pergamon (Pergamum), by the
Attalids; in Persia, the Seleucids evolved a form of Baroque-style building
design; in Egypt, the Ptolemaic dynasty constructed the lighthouse and
library at Alexandria. Palatial architecture was revitalized and numerous
municipal structures were built to boost the influence of local rulers.
Temple architecture, however, experienced a major slump. From 300 BCE
onwards, the Greek peripteral temple (single row of pillars on all sides) lost
much of its importance: indeed, except for some activity in the western half
of Asia Minor temple construction came to a virtual stop during the third
century, both in mainland Greece and in the nearby Greek colonies. Even
monumental projects, like the Artemision at Sardis and the temple of Apollo
at Didyma near Miletus, made little progress. All this changed during the
second century, when temple building experienced something of a revival
due partly to increased prosperity, partly to improvements made by the
architect Hermogenes of Priene to the Ionic style of architecture, and partly
to the cultural propaganda war waged (for increased influence) between the
various Hellenistic kingdoms, and between them and Rome. In the process,
temple architecture was revived, and an extensive number of Greek temples
- as well as small-scale structures (pseudoperipteros) and shrines (naiskoi) -
were erected in southern Asia Minor, Egypt and North Africa. As far as
styles went, the restrained Doric style of temple architecture fell completely
out of fashion, since Hellenism demanded the more flamboyant forms of the
Ionic and Corinthian Orders. Admired by the Roman
architect Vitruvius (c.78-10 BCE), famous examples of Hellenistic
architecture include: the Great Theatre at Ephesus (3rd-1st century); the
Stoa of Attalus (159-138); and the clock house Tower of the Winds at
Athens.
Hellenistic Sculpture
Hellenistic Greek sculpture continued the Classical trend towards ever
greater naturalism. Animals, as well as ordinary people of all ages, became
acceptable subjects for sculpture, which was frequently commissioned by
wealthy individuals or families to decorate their homes and
gardens. Sculptors no longer felt obliged to portray men and women as
ideals of beauty. In fact, the idealized classical serenity of the fifth and
fourth centuries gave way to greater emotionalism, an intense realism, and
an almost Baroque-like dramatization of subject matter. For a typical style
of this form of plastic art, see Pergamene School of Hellenistic
Sculpture (241-133 BCE).
As a result of the spread of Greek culture (Hellenization), there was also
much greater demand from the newly established overseas Greek cultural
centres in Egypt, Syria, and Turkey for statues and reliefs of Greek Gods,
Goddesses and heroic figures for their temples and public areas. Thus a
large market developed in the production and export of Greek sculpture,
leading to a fall in workmanship and creativity. Also, in their quest for
greater expressionism, Greek sculptors resorted to more monumental works,
a practice which found its ultimate expression in the Colossus of
Rhodes (c.220 BCE).
Famous Greek sculptures of the period include: "The Farnese Bull" (2nd
Century); the "Dying Gaul" (232) by Epigonus; the "Winged Victory of
Samothrace" (c.1st/2nd century BCE); The Pergamon Altar (c.180-150);
"The Medici Venus" (150-100); The Three Graces (2nd Century); Venus de
Milo(c.100) by Andros of Antioch; Laocoon and His Sons (c.42-20 BCE)
by Hagesander, Athenodoros and Polydorus. For more information, please
see: Hellenistic Statues and Reliefs.
For a general comparison, see: Roman Sculpture. For a particular genre,
see: Roman Relief Sculpture. For an excellent example of Hellenistic
Roman art of the turn of the Millennium, please see the extraordinary
marble relief sculptures of the Ara Pacis Augustae(c.13-9 BCE).
For the effect of Greek sculpture on later styles, see: Renaissance
Sculpture(c.1400-1530) and also Neoclassical Sculpture (1750-1850).
Hellenistic Painting
The increased demand for Greek-style sculpture was mirrored by a similar
increase in the popularity of Hellenistic Greek painting, which was taught
and propagated in a number of separate schools, both on the mainland and
in the islands. Regarding subject-matter, Classical favourites such as
mythology and contemporary events were superceded by genre paintings,
animal studies, still lifes, landscapes and other similar subjects, largely in
line with the decorative styles uncovered at Herculaneum and Pompeii (1st
century BCE and later), many of which are believed to be copies of Greek
originals.
Perhaps the greatest contribution of Hellenist painters was in portrait art,
notably the Fayum mummy portraits, dating from the 1st century BCE
onwards. These beautifully preserved panel paintings, from the Coptic
period - in all, some some 900 works - are the only significant body of art to
have survived intact from Greek Antiquity. Found mostly around the Fayum
(Faiyum) Basin in Egypt, these realistic facial portraits were attached to the
funeral cloth itself, so as to cover the faces of mummified bodies.
Artistically speaking, the images belong to the Greek style of portraiture,
rather than any Egyptian tradition. See also Greek Mural and Panel Painting
Legacy.
here, at the headquarters of Byzantine art, for almost a thousand years
before leaving the city (soon to be captured by the Turks) for Venice, to
help start the Italian Renaissance. Throughout this entire period, these
migratory Greek artists retained their traditions (albeit adapted along the
way), which they bequeathed to the eras of Renaissance, Baroque,
Neoclassical and Modern eras. See, for instance, the Classical Revival in
modern art (c.1900-30). During the 18th century, Greek architecture was an
important attraction for intrepid travellers on the Grand Tour, who crossed
the Ionian Sea from Naples. In summary: Greek artworks may have
disappeared, but Greek art is still very much alive in the traditions of our
academies, and the works of our greatest artists.

Greek Tragedy

The real tragedy of Greek art is the fact that so much of it has disappeared.
Only a very small number of temples - like the Parthenon and the Temple of
Hephaestus - have survived. Greece built five Wonders of the World
(the Colossus of Rhodes, the Temple of Artemis at Ephesus, the Statue
of Zeus at Olympia, the Mausoleum of Halicarnassus and
the Lighthouse of Alexandria), yet only ruined fragments have survived.
Similarly, the vast majority of all sculpture has been destroyed. Greek
bronzes and other works of Greek metalwork were mostly melted down and
converted to tools or weapons, while stone statues were pillaged or broken
down for use as building material. Roughly 99 percent of all Greek
paintings have also disappeared.

Greek Artists Have Kept Traditions Alive

But even though this part of our heritage has disappeared, the traditions that
gave birth to it, live on. Here's why. By the time Greece was superceded by
Rome, during the 1st century BCE, a huge number of talented Greek
sculptors and painters were already working in Italy, attracted by the
amount of lucrative commissions. These artists and their artistic
descendants, thrived in Rome for five centuries, before fleeing the city just
before the barbarians sacked it in the fifth century CE, to create new forms
of art in Constantinople the capital of Eastern Christianity. They thrived