Art History Exam #2 Greek

Sanctuary

A sacred place in ancient Greece where people worshipped gods often having temples, monuments and altars

Peristyle

A row of columns that surround a building or courtyard

Cella (Naos)

The main inner room of a Greek temple where the statue of the god or goddess were kept

Kore

Marble; A statue of a young woman, usually shown fully clothed. Archaic smile (alive and idealized)

Kouros from Attica

Marble: A statue of a young man, usually shown naked, standing upright, celebrating the ideal young male body. Kouros from Attica, dating to the Archaic period, a time that celebrated human achievement. Greeks were influenced by ancient Egyptian art, emphasizing realism and idealized human bodies.

Idealized

Made to look more perfect, beautiful or flawless than in real life

Contrapposto

A pose where most of the body weight is on one leg making the figure appear more relaxed

Black Figure

A Greek pottery style where figures are painted in black or red colored clay

Doric

Simple, plain top or capital, no base and looks sturdy

Ionic

Decorative column style, base and scroll shaped volutes at the top

Corinthian

Most decorative has a base and capital decorated with carved acanthus leaves

Pediment

Triangular section at the top of the temple

Entablature

Horizontal structure containing the architrave and frieze

Frieze

Decorative band containing carvings or sculptures telling story

Architrave

Lowest part of the entablature, directly above the columns

Capital

Top of the column, doric, ionic or Corinthian

Shaft

Long vertical part of the column

Flute

Vertical grooves carved into the shaft of a column

Base

Bottom part of the column that supports it

Exekias, amphora with Ajax and Achilles playing a board game

Athens, Greek, Archaic, c.550–540 BCE. (Black Figure) Ajax and Achilles playing a board game during a break in the Trojan War; Greatest Greek black-figure pottery, consisting of two men who look prepared for war in their armor, cloaks, and shields.

Kritios Boy

480 BCE. Greek, Early Classical, Marble. Contrapposto: the majority of the body weight rests on one leg. This piece bridges the gap between the Archaic Kouros and the highly naturalistic pieces of the Classical period. More serious facial expression versus the archaic smile.

Zeus in Warrior Pose, found off Cape Artemision, Greece,

460–450 BCE. Greek, Early Classical, Bronze. Bronze-casting encouraged artist to more realistic figures. Symbolic of the Greek God or Greek mythology in Greek Religion. Idealized muscles, proper proportions and a sense of movement. Restrain, power and diginity carrier the primary influence of the early classical era.

Chryselephantine

Made of Gold and ivory

Karyatid

Female statue thats serves as a column

Red-Figure

Red decoration on a black background

Naturalism

Mode of representation that mimics perceptual experience

(Temple of Athena Parthenos)

Marble Akropolis, Athens, Greek, High Classical, 447–432 BCE.*Dedicated to Athena, the Parthenon, 8 columns on the front and 17 columns on the side; constructed under the leadership of Pericles, a celebratory monument of Athens ' victory, power, and wealth during the Persian wars. Most influential monuments in world history reflect early classical ideals of balance and harmony.

Central scene (peplos scene)

Classical Greek structure Frieze from the Parthenon, east end, Akropolis, Athens, 447–432 BCE. Marble. Located on the eastern side of the Ionic frieze. It highlights the Panathenaic procession. A ritual of handing Athena a sacred woven peplos. Depicts a contemporary Athenian ritual that connects the goddess Athena to the people of Athens. Presentation of the peplos to Athena during the Panathenaic festival, Athens’ most religious celebration. Seated are the Olympian gods and goddesses observing the event conent religious devotion to civic pride

Spear Bearer

Artist: Polykeitos; Roman marble copy of a Greek bronze, High Classical of c. 450–440 BCE. Demonstrates contrapposto, with body weight resting on one leg while the other relaxes. Chiastic balance and harmony through the tense and relaxed body parts. Mathematical ratios could create perfect artistic forms and reflect the Greeks' admiration for the well-trained Greek body.

Dying Gaul

Roman copy of a bronze statue, Hellenistic Greek, of ca. 230–220 BCE. Marble. Wounded Celtic warrior in his final moments before death. Expression of dignity, pain and exhaustion. Wearing a torc or a neck ring commonly worn by Celtic warriors. Sculpture emphasizes emotional intensity and dramatic realism.

Contrasts with the idealized figures of the Classical period, demonstrates how Hellenistic artists sought to evoke empathy and emotional engagement from viewers.

(Athena Battling Alkyoneos)Great Altar of Zeus

Marble relief sculpture; Pergamon (İzmir province, Turkey), c.180–160 BCE. Gigantomachy frieze, which depicts the battle between the Olympian gods and the Giants. Nike the winged goddess flies towards Athena to crown her victory. Athena goddess of wisdom and war seizes the giant Alkyoneos by the hair as she defeats him. Unlike the calm idealism of Classical art this emphasize action, conflict and human emotion.