Greek Sculpture Quals

 Cycladic
    Title:     Marble seated harp player
    Work Type:     Statuette of a seated harp player
    Period:     late Early Cycladic I-Early Cycladic II
    Date:     ca. 2800-2700 B.C.

Aside from nude female Early Cycladic figurines, there are male figurines playing instruments. In the Early Cycladic II period, figures not only standing, but begin to perform other activities and to tilt their head to the side. Shows specialized expertise necessary to do detailed stone carving. Figures playing musical instruments come from Keros.

Figure of a Woman

 Early Cycladic II, EBA
    Date:     c. 2600-2400 BCE

Folded arm figurine from the Keros-Syros group. FAFs characterized by a nude, frontal, female form with legs together and toes pointed so she cannot stand and arms folded under her breasts. Mostly found in funerary context. Carved from marble and would have originally been painted.

 Mycenae. Cult area. Isometric drawing of Room 18.
    Site:     Mycenae, Greece
    Style Period:     Mycenaean

Culture:     Greek, Mycenaean
    Title:     Female figurine, Psi type
    Work Type:     Sculpture
    Period:     Late Bronze Age, Late Helladic
    Date:     ca. 1300 B.C.
    Material:     Terracotta, solid, with added reddish-brown slip
    Measurements:     11.8 x 5.9 cm (4 5/8 x 2 5/16 in.)
    Description:     Like Cycladic figurines (see 1970.24.1), this Mycenaean terracotta representation of a woman shows the reduction of the female figure into basic geometric forms. Her face is defined by a large, angular protruding nose. Here, however, the basic forms used to create the human body are not flat planes, but curved, tubular volumes. The woman stands with her feet together, and extends her arms upward at her sides. She wears wears a billowing sleeved garment that drops from her outstretched arms, a separate skirt that splays out at her feet, and a flat-topped hat (polos) on her head. The folds of her drapery are painted on in a brown slip, and her eyes are indicated by painted dots on either side of her nose.

Tholos on head indicates her status as a goddess.

 Mycenaean
    Title:     "Phi" Figurine
    Work Type:     sculpture
    Date:     1400–1200 BCE
    Location:     Place of origin: Mycenae, Greece

Centaur from Toumba cemetery, Lefkandi, Euboea

Greek, Geometric period
    Date:     late 10th century B.C.E.

Evidence for narrative in art. His left foreleg has a gash, implying some kind of backstory, like he was fighting in a battle. But hard to connect to a specific narrative like Chiron.

Votive Statuette of Warrior profile & front views
    Date:     Mid. 8th C. B.C
    Material:     bronze
    Subject:     Sculpture--Greek: Geometric--9th-8th C. B.C

Title:     Athens. Acropolis. Hekatompedon. Exterior sculpture. Reconstruction.
    Work Type:     Sculpture
    Site:     Athens, Greece
    Material:     Marble.
    Style Period:     Archaic

Corfu. Temple of Artemis. Facade reconstruction.
    Work Type:     Architecture
    Site:     Corfu (Kerkyra, Corcyra), Greece.
    Style Period:     Archaic

.c. 590

First stone temple in Greek world with a carved pediment. At the center is Medusa and her offspring flanked by panthers, with the battle between gods and giants in the corner. Pediment carved and painted. Shallow relief with figures pressed up against front plane of stone block, made by drawing design on flat surface and cutting away stone to produce silhouettes. Medusa runs in a pinwheel pose. Pegasus and hero Chrysaor sprung from Medusa’s neck when she is beheaded. Here mythological time compressed, and she appears with them. Early example of cohesive narrative in temple decorative scheme. Euripides tells that Medusa originally created to fight with the gods against the giants. Past, present, and future of Medusa myth compressed into a narrative instant on the pediment. Medusa may have come from terracotta gorgon heads used to cap ridgepoles on earlier wood and terracotta temples.

Woman of Auxerre
    Date:     c. 640 - 630 BCE
    Material:     limestone with traces of pigment

From Crete, probably cemetery at Eleutherna. Use of statue as grave marker in Crete may have developed from contact with Phoenicia and its mortuary pillars. Probably shows the deceased praying. Pose similar to Syrian bronzes in previous century. Precursor to images of mortal women making offerings or praying, aka kourai figurines.

Prinias: Temple A: Ext.: lintel: det.: enthroned goddess and procession of stags
    Date:     mid 7th C. B.C
    Location:     Prinias, Crete (Greece)
    Material:     limestone

First stone temple in Greece, but very different from later mainland Greek temples. Doorway is odd. Can see here the lintel, and space over it provided by the relieving triangle, was heavily decorated. Seated goddess figurines and relief of stags. Temple itself resembles a near eastern palace whose imagery is visible to the community. Take symbols of royal authority and assimilate them to religious cult.

 Prinias: Temple A Reconstruction of Facade
    Date:     mid 7th C. B.C
    Location:     Prinias (Greece)
First stone temple in Greece, but very different from later mainland Greek temples. Doorway is odd. Can see here the lintel, and space over it provided by the relieving triangle, was heavily decorated. Seated goddess figurines and relief of stags. Temple itself resembles a near eastern palace whose imagery is visible to the community. Temple consisted of one large room with a hearth like a megaron. Reliefs of horsemen similar to palace reliefs in North Syria. Take symbols of royal authority and assimilate them to religious cult. Greek temple is a ruler’s dwelling made public.

  Prinias: Temple A Plan and Reconstruction of Facade
    Date:     mid 7th C. B.C
First stone temple in Greece, but very different from later mainland Greek temples. Doorway is odd. Can see here the lintel, and space over it provided by the relieving triangle, was heavily decorated. Seated goddess figurines and relief of stags. Temple itself resembles a near eastern palace whose imagery is visible to the community. Temple consisted of one large room with a hearth like a megaron. Reliefs of horsemen similar to palace reliefs in North Syria. Take symbols of royal authority and assimilate them to religious cult. Greek temple is a ruler’s dwelling made public.

 Temple of Artemis, west pediment, detail; Zeus fighting Kronos
    Work Type:     relief sculpture
    Date:     c. 590 BCE
    Style Period:     Archaic

Temple of Artemis, west pediment, detail; Gorgon monster
    Work Type:     relief sculpture
    Date:     c. 590 BCE
    Style Period:     Archaic

Archaic temples often show frontal scenes of Gorgons on pediments ex. Earliest stone temple with a carved pediment, Temple of Artemis at Corfu c 590, Gorgon (2 m tall) and panthers directly confront the viewer, west pediment. Either no relation to goddess Artemis or according to some Artemis as mistress of the animals. At this time, pedimental sculpture on early Doric temples was standardized and did not refer to specific deities. The gorgon figure likely grew out of goron-headed terracotta revetments that capped wooden ridgepoles of earlier temples. Established Greek identity of temple in setting of a colony. Viewers would have seen monumentality, and that the sculptural decoration was both international in style, using NE motifs, and used panHellenic themes. Meant to emphasize the Greek character of the temple for colony of Korkyra threatened by influence of local culture. (Zuchtriegela) PInwheel motion shows rapid movement. Perhaps gigantomachy scene means this should be taken as a unified mythological composition.

Greek, Attic
    Title:     Marble statue of a kouros (youth)
    Work Type:     Statue of a kouros (youth)
    Period:     Archaic
    Date:     ca. 590-580 B.C.
    Material:     Marble, Naxian

Attic kouroi most often used as funerary markers. Schematic rendering of physique with geometric “bird’s wing” ribs mirroring the V-line of his pelvis.

    Title:     So-Called 'Berlin Goddess'
    Title:     front view
    Work Type:     sculpture
    Date:     580-570 BCE
    Style Period:     Archaic

Funerary kore from Attica. She holds a pomegranate with many seeds over her pelvis, signifying fertility. Drapery consists of stiff vertical folds and covers the body. The left thumb hidden under the edge of her garment evokes feminine aspects of hidden, unseen things. Head squarish, eyes huge with arched upper lid and gently curving lower lid, facial features sharply outlined. Since the stiff drapery did not have much visual interest, they enlivened it with paint.

Goddess Hera
    Work Type:     sculpture
    Date:     c. 580 BCE
    Material:     stone
    Description:     Colossal head from the cult-statue of Hera in the Heraion of Olympia.

Kore from the Cheramyes group
    Work Type:     sculpture
    Date:     c. 570-560 BCE
    Material:     marble
    Measurements:     height: 192 cm
    Style Period:     Archaic
    Description:     Temple of Hera, Island of Samos
    Description:     An engraved inscription runs along the edge of the veil, describing the statue as an offering to Hera by Cheramyes, a member of the Ionian aristocracy in eastern Greece.

 Greek
    Title:     Woman with Bird
    Title:     front view
    Work Type:     sculpture
    Date:     c. 570-560 BCE
    Site:     Creation Site: Miletus, Turkey
    Style Period:     Late Archaic
    Description:     Sk 1791 depicts a woman (with the head missing) standing in a rigid pose with feet very close together and arms held tightly to the body. The left forearm is elevated and holds a bird as attribute. Most possibly that bird is meant as a votive offering to a goddess. The woman's right hand does not grab or pull the garment as statues of this type a few years later will do. Like their male (nude) counterparts, the kouroi, the female statues of this type (called korai) show youths in their prime with beautiful physiques to visualize the (aristocratic) ideal of kalokagathia.

-Wearing an Ionic chiton

-little modelling of body underneath, surface lines of chiton and Archaic zig-zag folds

Greek
    Title:     Fragment of a Column Drum: Woman

Didyma, Turkey
    Title:     front view
    Work Type:     sculpture
    Date:     6th century BCE
    Material:     marble
    Style Period:     Late Archaic/Ionic
    Description:     The vertical ridge at the left broken rim indicates that of Sk 1721 was once part of a column drum. That drum had a diameter of more than one meter. They wear lavish garments and veils indicating that they are participants in some sort of festivity. Most likely they are members of the cult of Apollo at Didyma where the columns were part of the famous temple where the oracles were held. That temple was destroyed by the Persians in 494 B. C. as retaliation for the mutiny of the nearby town Miletus.

Fleshy face like Ionic kourai figurines. Votive figures at foot of column similar to Artemis of Ephesus temple. Relates to beginning of Ionic order as surface for offerings.

 Stele of Aristion

  Creator: Aristocles
    Work Type:     stele
    Date:     6th century BCE
    Material:     marble
    Style Period:     Archaic

Unlike sculptures in the round, aka kouroi figurines, Attic relief sculptures could have specific attributes connected to a person’s activities as part of the polis, like military or athletic achievements. Aristion shows himself as a hoplite soldier. Evokes a local community rather than a panhellenic one. Athens a center for funerary relief production. The face of the figure was originally painted a different color from his body.

Ephesus: Temple of Artemis V: Ext.: Miscellaneous sculpted base of column
    Date:     c.560 B.C
    Location:     Ephesus (Extinct city)
    Description:     Scopas

Each column base was unique. Stone columns were paid for by subscription by local elites. Assimilate elite religious display like kouroi figurines into larger cult shared by polis.

Sphinx of the Naxians
    Work Type:     sculpture
    Date:     c. 560 BCE

Votive offering of the Naxians at Delphi. Orientalizing sphinx.

Shows origin of Ionic column capital as holding up an offering for a god. Shows that Ionic capitals were originally derived from vegetal motifs in Near Eastern Art.

  Creator:     Geneleos
    Culture:     Greek
    Title:     Woman ('Ornithe') with Votive Offering
    Title:     front view
    Work Type:     sculpture
    Date:     c. 560 BCE
    Site:     Samos, Greece
    Style Period:     Archaic
    Description:     The young woman is standing in a rigid pose wearing a chiton with a broad belt. Both arms are lowered with the right one grabbing a part of the garment to the effect that the right ankle becomes visible. This motif was considered an erotic one and stressed the physical beauty of the depicted woman.  Sk 1739 was part of a group signed by the sculptor Geneleos. It is a family group with Ornithe standing between her brother (whose statue is not preserved) and her older sister called Philippe.
    Description:     Inscription: An inscription underneath the right knee names the depicted woman as Ornithe (translated 'bird').

She is wearing an Ionic chiton, straight lines interrupted by characteristic gesture of korai figurines: grasping skirt with one hand so folds bunch up

Athens. Acropolis. Hekatompedon. Restored front elevation.
    Work Type:     Architecture
    Date:     ca. 560 BCE
    Site:     Athens, Greece
    Material:     Marble.
    Style Period:     Archaic

Greek
    Title:     Calf-Bearer (Moskhophoros; Moscophoros; Calf Bearer)
    Work Type:     sculpture
    Date:     c. 550 BCE
    Material:     marble
    Style Period:     Archaic

The dedicator Rhonbos is depicting himself bringing an offering o the goddess Athena, is both bringing an offering and is himself an offering as a votive statue. Shows human dominance over animals and the dominance of the gods over humans. Relationship between humans and animals emphasized by “x” formed by legs of the calf and arms of human. Diagram of the sacrificial economy. Eyes would have been inlaid with quartz. Stylistically less blocky than earlier kouroi, dominated by simple convex masses.

Enthroned Statue of Khares (from Didyma) front view
    Date:     c.560-535 B.C
    Material:     marble
    Subject:     Sculpture--Greek: Archaic--580-535 B.C

A series of these statues found outside the santuary of Apollo at Didyma. Have a pose of royal authority and their arrangment ina row outside the temple is likely influenced by pharaonic temple statuary. Statue bears a dedication by the king of a Carian town “I am Khares son of Kleisis, sovereign (arkhos) of Teikhioussa” and was dedicated to Apollo. Non-Greek king making a dedication to a Greek deity like Lydian king Croesus with temple of Artemis at Ephesus. Also a representation of sovereignty at a time we know philosophers in 6th. c Ionia were interested in it.

Greek
    Title:     Temple of Apollo
    Title:     detail view
    Work Type:     Designed Landscapes
    Work Type:     Religious Buildings
    Date:     6th century BCE
    Date:     Image: April 1993
    Site:     Didyma, Aegean Region, Turkey

Kouros front view
    Date:     c.550 B.C
    Material:     marble
    Description:     From Tenea

  Paestum, Silaris: Temple of Hera plan
    Date:     c.550 B.C

 Paestum, Silaris: Temple of Hera elevation side with treasury
    Date:     c.550 B.C

 Didyma: Temple of Apollo: Ext.: Female Figure; column base head; left profile
    Date:     c.540-520 B.C

Didyma: Temple of Apollo I Restoration drwg. Lower section of column
    Date:     c.540-520 B.C
   

 Peplos Kore
    Date:     c.530B.C

From Athenian Acropolis.
    Material:     marble

She does not wear a peplos and is not a kore. Original painted surface had figure wearing a long tress and a cape with the dress parted to show patterns of animals and humans embroidered on inner garment. Her attire resembles that of Anatolian fertility goddesses like Artemis of Ephesus. Her right hand is likely drilled in order to hold a bow, one of the goddess’ attributes. It is also known that there was a temple of Artemis on the Athenian Acropolis.

Stylistically resembles Rampin Rider, with respect to slanting eyes, same mouth, and large earlobes. Her stance is slightly asymmetrical anticipating later development into contrapposto. No longer stares straight ahead, but to the side. No longer perfectly symmetricall.

Magna Graecia
    Title:     Goddess Suckling Twins, from the necropolis of Megara Hyblaea
    Work Type:     sculpture
    Date:     after mid 6th century BC
    Material:     limestone

Battle between the Gods and Giants (Gigantomachy), fragment of relief from the Siphnian Treasury at the Sanctuary of Apollo, Del
    Date:     ca. 530-525 B.C.E.
   

Didyma: Temple of Apollo: Ext.: Architrave relief Gorgon & recumbant lion
    Date:     c.540-520 B.C

Attributed to Myron
    Title:     A Kouros
    Date:     6th century BCE

  Kouros, called Apollo of Piraeus
    Date:     c. 520 BCE

Bronze statue, possibly originally from Delos. Extends right foot instead of customary left for a kouros figurine. Bronze allows for more fluid movements and for statues to reach out, which marble would not allow. Bronze also allows for smoother transitions between parts of the body and musculature, here there is a softer abdomen. Head bows down toward worshippers, god not aloof like kouroi, but a presence in the world that people can interact with. One hand would likely have held a libation bowl and the other a bow.

 Delphi: Temple of Apollo V: plan: reconstruction; E pediment "Entry of Apollo into Delphi with Leto & Artemis Between Local Deities"
    Date:     c.525 B.C

From the East Pediment of the Alkamaionid temple to Apollo at Delphi showing the divine appearance of Apollo in a chariot. Striking innovation of east pediment including free-standing statues like this one. East facade of temple built in expensive Parian marble. Show power of Athenian elites in exile, doing something like building a temple with marble that usually only a polis would be able to do.

Athenian Alkamaionid family able to include traditional elite display of kouroi and kouraias free-standing sculptures in the E pediment of their temple to Apollo at Delphi. Part of a composition that was typical to a monument to victory in a chariot race, with Apollo appearing in a chariot pulled by 4 horses in the center flanked by 3 kourai to the left and 3 kouroi to the east and lions hunting a bull and a gazelle on either side, NE animal hunting motif. Entire east facade of the temple essentially a votive offering to the god. Temple has a semi-private, semi-public nature, height of aristocratic display.

Delphi: Temple of Apollo V: Ext.: E pediment "Female Godess Figure" (marble)
    Date:     c.525 B.C
    Location:     Delphi (Extinct city)
    Description:     by Antenor(?)

Athenian Alkamaionid family able to include traditional elite display of kouroi and kourai (like this one) as free-standing sculptures in the E pediment of their temple to Apollo at Delphi. Part of a composition that was typical to a monument to victory in a chariot race. Entire east facade of the temple essentially a votive offering to the god. Temple has a semi-private, semi-public nature, height of aristocratic display.

 Delphi: Temple of Apollo V: Ext.: E pediment "Lion and Doe Group"
    Date:     c.525 B.C
    Location:     Delphi (Extinct city)
    Subject:     Delphi (Ext

From the East Pediment of the Alkamaionid temple to Apollo at Delphi showing the divine appearance of Apollo in a chariot. Striking innovation of east pediment including free-standing statues like this one. East facade of temple built in expensive Parian marble. Show power of Athenian elites in exile, doing something like building a temple with marble that usually only a polis would be able to do. Near Eastern animal hunting motif.

 Delphi: Temple of Apollo V: Ext.: E pediment Reconstructed with fragments
    Date:     c.525 B.C

From the East Pediment of the Alkamaionid temple to Apollo at Delphi showing the divine appearance of Apollo in a chariot. Striking innovation of east pediment including free-standing statues like this one. East facade of temple built in expensive Parian marble. Show power of Athenian elites in exile, doing something like building a temple with marble that usually only a polis would be able to do.

Athenian Alkamaionid family able to include traditional elite display of kouroi and kouraias free-standing sculptures in the E pediment of their temple to Apollo at Delphi. Part of a composition that was typical to a monument to victory in a chariot race, with Apollo appearing in a chariot pulled by 4 horses in the center flanked by 3 kourai to the left and 3 kouroi to the east and lions hunting a bull and a gazelle on either side, NE animal hunting motif. Entire east facade of the temple essentially a votive offering to the god. Temple has a semi-private, semi-public nature, height of aristocratic display.

Eretria: Temple of Apollo Daphnephoros (Laurel Bearer): Ext.: W pediment "Theseus Abducting Antiope"
    Date:     c.500 B.C
    Location:     Eretria (Extinct city)

Symbolic of triumph of Greeks over the Persians in Persian war. Theseus’ abduction of Amazonian queen Antiope in Persian dress is symbolic of the sack of the Persian capital in Asia Minor of Sardis. Sexual violence as metaphor for violence of war. Theseus as Athenian hero becoming popular at time of Athenian democracy. Here Theseus lifts Antiope into a chariot. The differentiation in their dress shows a growing consciousness of Greek vs. Non-Greek identity at time of war with Persia. Dramatic, twisting poses characteristic of Late Archaic style.

Kore
    Date:     c.500 B.C
    Material:     marble

Votive Kore Athenian Acropolis. Typical of kourai dedicated in this period in the Acropolis, she wears an Ionic chiton paired with a mantle. Unrealistic depiction of fabric: on the shoulders has crinkly folds like a lightweight fabric like linen, then falls in heavy, straight folds over her breast like wool. Paint still used, but sculpture taking advantage of 3rd dimension more. Like earlier Samian kourai, she would tug her skirt to create patterns of folds, and she steps forward like the kouroi to further shape the cloth. Now sculptors carve the left arm separately and dowel it onto the body, so it can reach forward in a more 3d way toward the viewr

Kore from Athens, Acropolis c. 525 BC
    Date:     520-480 B.C
    Material:     marble

Votive Kore Athenian Acropolis. Typical of kourai dedicated in this period in the Acropolis, she wears an Ionic chiton paired with a mantle. Unrealistic depiction of fabric: on the shoulders has crinkly folds like a lightweight fabric like linen, then falls in heavy, straight folds over her breast like wool. Paint still used, but sculpture taking advantage of 3rd dimension more. Like earlier Samian kourai, she would tug her skirt to create patterns of folds, and she steps forward like the kouroi to further shape the cloth. Now sculptors carve the left arm separately and dowel it onto the body, so it can reach forward in a more 3d way toward the viewer.

Aristodikos Kouros front and rear views from Attica c. 500 BC
    Date:     520-480 B.C
    Material:     marble

Last of koroi. Superficial modelling of human anatomy. Not contrapposto, at rest. Self-contained, not entering space of viewer. Hairstyle of late Archaic kouroi, long hair bound up in band encircling his head.

 Polyxena Sarcophagus (Kizoldun Tumulus). Drawing. Death of Polyxena.
  Date:     ca. 520-500 BCE
    Site:     Gumuscay, Turkey.
    Material:     Marble.
    Style Period:     Archaic
From Asia Minor once it became a province of Achaemenid Persian Empire. Earliest sarcophagus with figural stone decoration in Asia Minor. Archaic Greek style. This side shows the sacrifice of Polyxena, princess of Troy in front of the burial mound of Achilles and Patroclus while Trojan women lament. Suggest that there was a hero cult dedicated to Achilles in the Troad.

War also happening in Troad when Darius I burns cities in Asia Minor during his Scythian campaign. Representation of reality through myth.

Polyxena Sarcophagus (Kizoldun Tumulus). Funerary banquet. Drawing.
    Work Type:     Sculpture
    Date:     ca. 520-500 BCE
    Site:     Gumuscay, Turkey.

Importance of funerary banquet. Like Tomb of the Harpies. Female heads defined by diagonal line curving slightly from nose to forehead, almond-shaped eyes, and round oval shape on back of the head. Women have long mannered hands. Characteristic of Late Archaic style.

Greek
    Title:     Votive Kore from Chios (Votive Kore)
    Work Type:     sculpture
    Date:     c. 520 BCE

Eretria: Temple of Apollo: Ext.: W pediment Figure of Athena, fragment
    Date:     c.500 B.C

 Temple of Aphaia east elevation
    Date:     ca. 500-480 B.C.E.
    Location:     Aegina, Greece
    Style Period:     Greek, Late Archaic

Athenian Treasury. View from the northwest.
    Date:     ca. 500-485 BC
    Location:     Delphi.

Distyle, Doric order. Like a temple, but no image of a god, just for storing treasure. Doric trigylph and metope frieze shows acts of Theseus and Heracles. Made completely out of marble to one-up the Alkamonid temple to Apollo nearby.

Delphi: Athenian Treasury: Ext.: N Metope "Herkales Slays Kyknos"; marble
    Date:     490-489 B.C

Features friezes of Heracles as a pan-Hellenic hero at their treasury at the pan-Hellenic shrine at Delphi along with the specifically Athenian hero Theseus. Perhaps symbolic of Greeks triumphing over the Persians, Persian defeat at battle of Marathon in 490.

Dying Warrior, left angle figure from the East pediment of the Temple of Aphaia, Aegina
    Date:     ca. 490-480 B.C.E., Late Archaic

East pediment figure showing Classical style. Notable because West pediment figures carved in Archaic style though both carved at the same time. Complicates idea of stylistic dating. The weight of his falling is emphasized, dramatic looking like he is going to fall out of the pediment. Surface of skin ripples to show muscle underneath, skin has puckers and folds. From scene of sack of Troy by Herakles and Telamon. In Greek dress to distinguish him from the Trojans in Persian dress. New emphasis on ethnic identity in wake of the Persian war where Aeginetans were part of defeat of Persia at battle of Salamis.

  Kritios Boy, statue of an Ephebe
    Date:     ca. 480 B.C.E.

  Greek, Early Classical ("Severe Style") period

Eyes originally inlaid in imitation of bronze statues. head resembles that of Harmodios in the Tyrant Slayers, by Kritios, so he is called Kritios boy and thought to be by him. Contrapposto now very pronounced. His weight rests on his left leg, his right hip falls lower and left hip higher. Right leg twists toward the left, while shoulders and head turn to the right. Sense of movement and rhythm thorough tensions of opposites.

  Athena: Large statuette fr. column dedicated by Angelitos full & rt. profile views
    Date:     480 B.C

Creator: Euenor
    Material:     marble
    Subject:     Sculpture--Greek: Archaic--535-480 B.C

Damaged perhaps by Persian sack and repaired. More dynamic movement than archaic kourai figurines, her arm is outstretched and the fold on her leg appear almost as motion lines. Zig-zaging Archaic folds and some stiffness of posture. Less decoration merely through lines, now carving drapery more deeply. Wearing a peplos instead of an Ionian chiton like a koura, perhaps because she is patron deity of Athens and is wearing Doric garment to express that identity.

Olympia, Temple of Zeus, west pediment, detail; Apollo
    Work Type:     sculpture
    Date:     470-456 BCE

looking at fight between centaurs and humans at the wedding and gesturing to humans to show his support for their side, points to the north, like a signpost showing them to the entrance of Zeus’ temple

-showing guests how to behave, with restraint, not like Centaurs at the Lapith wedding

-frontality of divine figures in pediments a common feature in 6th and 5th c. temple construction

-mantle originally painted red

-gods are not visible to other figures in the pediment. They do not see Apollo

Culture: Greek
    Title:     Wedding of Zeus and Hera; metope from temple E at Selinus

    Date:     470 - 460 BCE

-six carved metopes over porch like temple of Olympia, clearly influenced by it

-severity of texture and simple composition with large, legible gestures

-but other elements old-fashioned, like figures standing flush to the background, and drapery falling in stiff, Late Archaic zig-zags

-composition looks more inspired by Attic vases, possibly imported

-not a lot of good marble in Sicily, so used akrolithic technique: using imported marble for exposed skin and limestone for clothing

-Zeus sitting on a rock to represent Mt Ida.

-wearing hairstyle of time, with braids wrapped around the head and tied at the forehead

-Hera removing her veil in gesture of a bride on her wedding night, chain folds of the veil just decorative, not modeling underlying volume

Diskobolos (Discus Thrower)
    Date:     bronze original c. 450 BCE; marble copy probably 2nd century CE

Roman copy of a work by Myron

Would have originally been made in bronze, showing new dynamism of movement possible with the medium. In the bronze original, a marble support would not be necessary to support the weight of the statue. Contrapposto taken to an extreme, as the entire body twists in the moment of action.

His face is calm and stoic like that of Apollo in the west pediment of the temple of Zeus at Olympia. Severe style chin and doughy eyes.

Votive Statuary Group of Zeus Carrying off Ganymede (from Olympia)
    Date:     c.470 B.C

Architectural terracotta probably from a treasure house.

Zeus holding phallic staff. Rhythmic folds emphasize volume of his body. Ganymede holding rooster, a traditional love gift among Greek men. May have crowned Syracusan treasury to celebrate victory over Carthage. Iconography of rape and abduction appropriate to monument celbrating violent contest. Co-opting elite votives to the city-state. Ganymede holds a gift, but is also an “offering” enjoyed by the god himself. Homoerotic version of lion and bull maulings on archaic pediments. Shows violent power of god Zeus.

    Creator:     Kritios and Nesiotes
    Culture:     Greek
    Title:     Tyrannicides Harmodios and Aristogeiton
    Date:     Roman copy from the second century BCE, of a Greek bronze original of c. 477 BCE
    Material:     marble
    Measurements:     195 and 203 cm high
    Description:     from the Hadrian's Villa in Tivoli; the type is after a group by Kritios and Nesiotes c. 476 BCE, the bearded head of Aristogeiton is a plaster cast of a head in the Vatican

Xanthos: Harpy Tomb relief w/ winged spirit
    Date:     c.480 B.C
    Location:     Xanthos, Turkey

From marble chamber pillar tomb from Xanthos, Lycia. Features 4 winged creatures originally identified as harpies, but could be local deities or reading could be influenced by a Lycian interpretation of Greek mythology. More recent orthodox explanation is that they are sirens carrying away the souls of the deceased. In the far right corner, a woman mourns. Archaizing proportions, bodies in profile, seated man has Archaic smile. Similar to departing warrior motif on Athenian white ground lethykoi. ex. Achilles’ painter departure of warrior where he is handing a seated woman his helmet c. 465-420 BCE. Both warriors proffer a Corinthian style helmet.

The pillar tomb type is specific to Lycia, but features Greek mythological figures and artistic motifs in a Greek Archaic style. Mixing of Greek and local culture in Anatolia. How Lycians viewed the same imagery was likely different than those living in Ionia or mainland Greece.

    Title:     Charioteer of Delphi
    Work Type:     sculpture
    Date:     478-474 BCE

-commissioned in honor of Hieron winning the chariot victory at Delphi twice in the 470’s by his brother Hieron, both sons of Sicilian tyrant of Gela

-legs elongated to make him stand taller since he would have been in a chariot

-fabric appears to be thinner material above and thicker material below

-stiff pose, no contrapposto

-heavy chin, oval face, and full lips characteristic of early Classical style

-wearing victor’s band with silver inlay, eyelashes individually picked out in foil

-underneath chariot was an inscription saying Polyzalos was ruling Gela, later changed after tyranny collapsed
    Material:     bronze
    Measurements:     H: 5' 11"
    Description:     The bronze figure was originally part of a larger group of statuary, including the chariot, four (possibly six) horses and two grooms. Some fragments of the horses were found with the statue.

Olympia: Temple of Zeus Reconstruction Metopes - "Labors of Herakles"
    Date:     460 B.C

Internal frieze shows Labors of Heracles. Unique in showing a unified narrative, different events from Heracles’ life and establishing narrative continuity like showing Athena “aging” from a maiden to a mature woman in later labors. Appropriate because Heracles laid out sanctuary of Olympia.

Expresses psychological state of characters through poses and lines of sight of the figures.

Integration of depicted and architectural space:

-compositions clear masses with painted backgrounds of red and blue making the figures pop

-carved deeply, figures standing at an angle to the back of the relief to give illusion of greater depth, no longer aligning figures with front of block like in Archaic period

-Heracles interacts with architectural elements. When he holds up the sky in the Atlas scene, he seems to be holding up the architrave itself. He appears to be building the temple through his labors just as he laid out the sanctuary at Olympia itself.

 Olympia: Temple of Zeus: Ext.: East Pediment: "Pelops's Race"
    Date:     460 B.C

-pediments have marble sculptures with deep folds of drapery used to model figures, typifying Early Classical Style

1. Cloth draped in a way to suggest motion even if body static

2. Modeling lines: run in long curves over a surface to emphasize volume

3. Chain lines: hang from two or more points like swagging

Here E. Pediment showing preparations for the race between Pelops and Oinomaos for the hand of Hippodameia, who are standing on either side of Zeus who is in the center. Hippodameia and her mother standing on either side of the two men. 5 upright figures line up with the triglyphs and columns immediately under them.

This race the mythical origins of the Olympic games

Zeus turns toward Pelops because he is going to win.

Olympia: Temple of Zeus: Ext.: East Pediment: F,G,H,I,K- Sterope, Pelops, Zeus, Oinomaos,
    Date:     460 B.C

pediments have marble sculptures with deep folds of drapery used to model figures, typifying Early Classical Style

1. Cloth draped in a way to suggest motion even if body static

2. Modeling lines: run in long curves over a surface to emphasize volume

3. Chain lines: hang from two or more points like swagging

Here E. Pediment showing preparations for the race between Pelops and Oinomaos for the hand of Hippodameia, who are standing on either side of Zeus who is in the center. Hippodameia and her mother standing on either side of the two men. 5 upright figures line up with the triglyphs and columns immediately under them.

This race the mythical origins of the Olympic games

Zeus turns toward Pelops because he is going to win.

Olympia: Temple of Zeus: Ext.: East Pediment: N-Seer (Iamos?)
    Date:     460 B.C

-Is shocked to see Zeus in contest between Pelops and Oinomaos, is the only one in the scene who can see the god, or even the future
   

Olympia: Temple of Zeus: Ext.: East Pediment: P-River God (Kladeos or Alpheios)
    Date:     460 B.C

-shows modelling lines on cloth on his hips

-believed to represent one of the two rivers that runs past the sanctuary

Olympia: Temple of Zeus: Ext.: West Pediment: L-Apollo, Body
    Date:     460 B.C

-looking at fight between centaurs and humans at the wedding and gesturing to humans to show his support for their side, points to the north, like a signpost showing them to the entrance of Zeus’ temple

-showing guests how to behave, with restraint, not like Centaurs at the Lapith wedding

-frontality of divine figures in pediments a common feature in 6th and 5th c. temple construction

-mantle originally painted red

-gods are not visible to other figures in the pediment. They do not see Apollo

Magna Graecia
    Title:     Artemis and Actaeon, Metope from the Temple of Hera, Temple E, in Selinus
    Work Type:     sculpture
    Date:     c. 470-450 BC
    Material:     limestone and marble
    Measurements:     height: 162 cm

Pensive (Mourning) Athena
    Work Type:     relief
    Date:     c. 460 BCE
    Material:     marble votive relief

Votive relief, possibly civic. Chin severe style. Chain lines on upper part of peplos model her chest underneath, while the bottom part of her peplos has regular folds only disrupted by lifting one foot, just like Archaic figurines disrupted the regular pattern of their skirt by grabbing it with one hand. Lifting her foot also gives her a contrapposto pose as she shifts her weight. Similar pose to Angelitos Athena. The stela she is looking at may have had the names of war dead or a list of offerings, two differing interpretations. Could also be horos or boundary marker of a sanctuary.

Zeus of Artemision
    Work Type:     sculpture
    Date:     c. 460-450 BCE

-now statues interacting with viewers, Zeus going to hurl a thunderbolt at the viewer 

-left arm artificially elongated to encroach into space of the viewer

-Attic manufacture because of Clay core, like Harmodios and Aristogeition

-appears 3-d from some angles, but almost flat in profile as seen here 

-subtle-contraposso and other angles, like lightning bolt not parallel to arm but held at 45 degree angle, dynamic
    Material:     bronze
    Measurements:     height 2.09 m, 2.10 m from fingertip to fingertip
    Description:     Found in the sea near Cape Artemisio.

Riace Warriors (possibly representing Tydeus and Amphiaraus)
    Work Type:     sculpture
    Date:     c. 450 BCE; c. 455 BCE
    Material:     bronze, eyes inlaid with bone and glass, teeth with silver, nipples with copper

-two mature men

-probably held swords and shields in their hands originally

-originally votives in a sanctuary, perhaps part of a narrative group, if this large, likely a civic dedication

-cast using lost-wax technique and clay core, argues for Argive origin, probably made near Argos

-contraposso like that of Doryphoros, weight, flexion, and torsion

-muscles emphasized

-locks of hair individually modelled

-skin covers hidden things, sculptor goes to great length to show features like veins, as on warrior A’s right forearm twisted into an impossible position to show off his veins

-new narrative intensity, dramatization in expression of Warrior A, he looks like he is about to attack from his facial expression and posture
    Measurements:     over life-size; height: 1.97 m; l.98 m
    Style Period:     Early Classical

 Olympia. Temple of Zeus. Reconstruction of east facade.

Creator: Libon of Elis
    Work Type:     Architecture
    Date:     5th century BCE
    Style Period:     Classical

-Doric style, columns more slender than in Archaic

-built from limestone stuccoed to look like marble, and painted red and blue

-external metopes blank, but not internal ones

-pediments have marble sculptures with deep folds of drapery used to model figures, typifying Early Classical Style

1. Cloth draped in a way to suggest motion even if body static

2. Modeling lines: run in long curves over a surface to emphasize volume

3. Chain lines: hang from two or more points like swagging

Here E. Pediment showing preparations for the race between Pelops and Oinomaos for the hand of Hippodameia, who are standing on either side of Zeus who is in the center. Hippodameia and her mother standing on either side of the two men. 5 upright figures line up with the triglyphs and columns immediately under them.

This race the mythical origins of the Olympic games

Zeus turns toward Pelops because he is going to win.

Title:     Ephebus, Motya statue

Punic, from Motya in W Sicily

-representing either a charioteer or a poet, costume looks more like that of a poet

-modified contraposso that begins in 470’s

-hairstyle suggests early 400’s but garment closer to mid-400’s

-archaic head over a classical body, possibly intentional

-tons of vertical modeling lines, but they fall in a way that suggests the volume of the body underneath

-body veiled in a sexy way, so it can strain against its confines

-Greek style statue, similar to those of nearby Temple E at Selinous, either a spoil of war or comissioned by a non-Greek from a Greek sculptor

Hephaisteion (Theseion). Interior. East end. Detail: frieze.
    Date:     ca. 450-445 BC
    Location:     Athens.

Diskobolos
    Date:    original c.450 B.C by Myron
    Material:     marble
    Description: 2nd c. CE Roman  copy

Would have originally been made in bronze, showing new dynamism of movement possible with the medium. In the bronze original, a marble support would not be necessary to support the weight of the statue. Contrapposto taken to an extreme, as the entire body twists in the moment of action.

Athens (Acropolis): Parthenon: Ext.: W Pediment "Struggle Between Athena and Poseidon"; A front "Hero"
    Date:     447-436 B.C
    Location:     Athens (Greece)

Athens (Acropolis): Parthenon: Ext.: East Pediment 'Birth of Athena'
    Date:     447-436 B.C
    Location:     Athens (Greece)
    Location:     Greek
    Description:     Front Dionysus

Dionysus reclining oblivious to the birth of Athena.

 Acropolis, Parthenon, west façade, north side, detail: Column capitals, entablature, and pediment with casts of two figures

Creators: Iktinos and Kallikrates
    Work Type:     architecture
    Date:     447-432 BCE

Demeter, Persephone, and Triptolemos and the Creation of Agriculture
    Work Type:     relief sculpture
    Date:     440 BCE, Roman copy

Demeter to the right, severe style chin. Wearing a peplos the skirt of which falls straight to the ground like the Pensive Athena, with some modelling of chest. To right, Persephone is in contrapposto pose with modelling of her chest under her chiton in wet drapery style and chain lines over her stomach. Her himaton falls in zig-zag archaic drapery. A roman copy of a panel from the Great Elusinian reliefs at the temple of Demeter at Eleusis. According to Archaic Homeric Hymn to Demeter, Triptolemos was the first to be initiated into the Eleusinian mysteries. According to Apollodorus, once Demeter was unable to make Triptolemos immortal, she gave him wheat and taught him agriculture. This relief may represent that scene from the myth.

 Fragment of the frieze of the Panathenean games (the Ergastines) from the Parthenon
    Work Type:     frieze
    Date:     445-435 BCE

Two Maidens and a Woman, and a Man a Child Handling a Piece of Folded Cloth
    Work Type:     relief
    Date:     c. 438-432 BCE
    Material:     Pentelic marble
    Style Period:     Classical

Thought to be a priest and a boy preparing the peplos for the statue of Athena presented during the Panathenaia.

Figures of Three Goddesses From the East Pediment of the Parthenon; Hestia, Dione and Aphrodite; overview
    Date:     about 438-432 BCE
    Material:     Marble

Gods and Goddesses From the East Pediment of the Parthenon; Horses of Helios; Dionysos; two seated figures; Iris; oblique overview
    Date:     about 438-432 BCE
    Material:     Marble

Procession of Horsemen From the Ionic Frieze on the North Side of the Parthenon; detail of single panel
    Work Type:     Sculpture
    Date:     about 438-432 BCE
    Material:     Marble

Parthenon, north frieze, block VIII, scenes 16-19, detail; procession of water carriers (hydriaphoroi)
    Work Type:     relief sculpture
    Date:     440-432 BCE
   

Achilles as Doryphorus (Spear-Bearer; Doryphoros)

 Creator:     Polykleitos (Roman copy)

-retains from kouros type ambiguity between stillness and movement and heavy 4-square technique

-Polykleitos innovates by having the figure distribute weight unevenly in a dynamic contraposso pose

Herm w/Portrait Bust of Perikles Roman copy after a portrait statue
    Date:     431 B.C
    Material:     marble

Poss by Kresilas. Ruled Athens during the PP war and responsible for shaping Athenian Acropolis after Persian wars. Helmet shows his leadership of Athens during the PP war, helmet of strategos.

This was a herm set up on Acropolis, based on a bronze statue of him. Calm face like contemporary image of Apollo at Temple of Zeus. May not represent his individual features, but be idealized.

Temple of Athena Nike North Frieze; battle scene
    Work Type:     Sculpture
    Date:     ca. 425 BCE
    Material:     Marble

Nike, Olympia

Creator: Paeonius (Paionios)
    Work Type:     sculpture
    Date:     c. 420 BCE
    Style Period:     High Classical

Goddess Nike bringing news of the Athenian victory over the Spartans in the battle of Pylos in the Peloponnesian War.

In inscription, Paionos calls himself victorious as a sculptor like the army was victorious. Renders drapery using chain lines, motion, and modelling, but ridges are narrower, no longer thick like earlier severe style. Combining Archaic focus on surface decor (poikilia) with Classical diaphonous surface and violent motion. Becomes standardized in last quarter of 5th c.

Also exemplifies how during the PP war, statue groups increasingly became favored as dedications to the gods in commemoration of military victories. This statue is Athenian war propaganda.Her sexualized appearance evocative of aspects of sexual dominance in military domination.

Part of back and forth of erecting victory monuments at Panhellenic sanctuaries during PP war. This statue meant to respond to gold shield hung on Temple of Zeus at Olympia commemorating Spartan victory over Athens in 457.

Athens: Acropolis: Temple of Athena Nike: Ext.: (Callicrates) Sculpture relief on Parapet: Nike leading bull to sacrifice
    Date:     c.427 B.C

Athene and Nike Decorating a Tropeion (Nike Preparing a Trophy)
    Work Type:     sculpture
    Date:     c. 410-407 BCE
    Material:     Pentelic marble relief

Style Period:     Classical
    Description:     from the parapet of the Temple of Athena Nike, Acropolis, Athens (Nike Balustrade)

Limyra. Heroon of King Perikles. West facade, drawing.
    Work Type:     Architecture
    Site:     Limyra (Zemuri), Turkey.
    Style Period:     Classical

Kos. Sanctuary of Asklepios. Reconstruction drawing.
    Site:     Kos (Cos), Greece.
    Style Period:     Hellenistic

Temple of Asklepios expanded in 3rd and 2nd centuries. Allows for direct communication with the god, personal savior deity. A mystery cult that anyone could be initiated into rather than polis cult, so it had wide appeal. Pilgrims came from far away to be initiated.

New sanctuary a set of stepped terraces on a single terrace. In final form of 160 BCE, stoas and stairways guided the initiated up the terraces, with each stop symbolizing a level of spiritual elevation, until they reached the uppermost shrine. Journey up through the sanctuary as an initiate symbolized spiritual journey.

Olympia. Temple of Hera. Reconstruction.
    Work Type:     Architecture
    Site:     Olympia, Greece
    Style Period:     Classical

    
Athens. Parthenon. Exterior sculpture. East pediment. Drawing with floor blocks.

  Creator:     Iktinos
    Creator:     Kallikrates
    Work Type:     Sculpture
    Site:     Athens, Greece
    Style Period:     Classical

Athens. Acropolis. Parthenon. Exterior sculpture: East pediment. Figures with metopes.

  Creator:     Iktinos
    Creator:     Kallikrates
    Style Period:     Classical