Art History Unit 4

Peplos Kore

Archaic

350 BCE

Parian Marble 3’11 2/3” high

Kore- standing female figure

Peplos - woolen dress pinned at shoulder

archaic smile and stylized braids

encaustic beeswax and pigment

stiff rigid pose and closed fists, looking into future

sculpture in round connected to base

Poseidon/Zeus

Early Classical

found in the sea off cape artemision

450 BCE, Bronze 6’10" 1/4” high

throwing spear

lost wax method

reflects greek interest in athletics

Warrior from Riace

Early Classical

450 BCE

Bronze with bone, glass paste and copper inlay

6-4/5” high

inlaid eyes, copper eyelashes, lips and nipples and silver teeth

dome shaped head with flat, curvilinear stylizations of hair

dynamic pose with organic form

East end of the Parthenon

Early Classical 432 BC as temple of athena

doric columns and the top would have been heavily painted

5th century AD parthenon became christian church

15th century - turks invaded athens and converted to mosque

peristyle supported by doric

slight a-symmetry, columns at corner are closer

made entirely of marble

Wounded Amazon

Classical

430 BCE - 6-6.5 heads tall

Roman marble copy of bronze original 6’7 1/2” high

naturalistic in movement, contrapposto, figure connected to base

young/idealized lacking in facial expression, wounded

dress has folds, folds coincide with waves of hair

Nike adjusting her sandal

Classical

410-409 BCE, pantelic marble 3’5-3/4” high

from athena nike temple

nike on balustrade of parapet adjusting sandal

sheer almost transparent drapery

open wings in background

beauty and balance - graceful

Aphrodite of Knidos

Late Classical

450-323 BC - marble 6’8-3/4” high, 7 heads tall

rejected by island of kos because nude

fuller and fleshier and dreamy

praxtilelean curve - gentle s curve

contrapposto

body connected to base

Winged Nike from Samothrace

Hellenistic - samothrace

190 BCE - marble 8’ high

sense of drama and emotion

pathos - beauty and sadness

undercutting of drapery, shadows

naturalism of wings and bird-like feathers

sense of wind pressure and contained energy

Name the greek Columns

Doric, Ionic, Corinthian

Label the Plan of the Parthenon

1. naos

2. pronoas

3. opisthodomos

4. treasury

5. base of athenas statue

6. peristyle columns

7. solid wall

8. steps (stereobate and stylobate)

Name the order of the Period during this time

Archaic Period

Early Classical

Classical

Late Classical

Hellenistic

Early Greeks

Small number of people

Constant warfare

new people bring iron age technology

Polis or city states develop each with a economic structure with political and foreign affairs

Progression of the city-state

900-700 BC - aristocratic councils, homer’s iliad and odyssey are written, olympian games every 4 years

700-500 BC - dictatorial rulers who were more military, athens and corinth emerge as city states

700 BC - new form of writing

600 BC- Athens, Democracy, people share in rights of responsibilities of state, male were citizens, slaves and women weren’t

510 BC - democracy developed, reduced dominance of aristocratic families, 50 representatives to 500 member council

Greek Economy

Trade was main form of economic growth

exports like olive oil, pottery, and metal wares

imports like grain, textiles, precious metals, and wood

trade contacts with asia and africa and cycladic islands

Religion

1000 BC - worshipped female goddesses, outsiders brought male gods and this formed greek pantheon

creation of world is viewed as a battle between earth gods and sky gods

sky gods won and formed mt olympus

greek gods were immortal and had supernatural powers but had emotions and personalities

Zeus and Hera

Father and mother - most important

apollo

sun god

poseidon

sea god

ares

god of war

aphrodite

goddess of love

artemis

goddess of hunting and moon

athena

goddess of wisdom, victory, purity and weaving, protector of athens

gods and goddess

they had sanctuaries, where they showed favor to human worshippers

sanctuaries had natural elements like trees, rocks and springs

Greek gods communicate through oracles

greeks sought advice on military

Greek view of death

grief and sadness, anguish, the unknown, humans enter a place of mystery and obscurity which is not easily defined

archaic period

archaic smiles

sculpture in the round but frontal poses

nudity

wide shoulders and thin waist, left leg forward

stylized braids in hair

clenched fists and rigid bodies, muscles or curves

marble and encaustic (beeswax mixed with pigment)

Early classical period

contraposto with right knee bent, angled hips, stylized hair

expression-less

proportions are realistic

nudity, muscles, tensions between rigid and relaxed

marble and cast bronze

connected to post for balance, more fully in the round

negative space and shadows

6 heads tall

Classical Period

wet transparent drapery, gravity of cloth, smooth surface

graceful, movement, peaceful feeling

contraposto

elgin marbles into pediment of parthenon for optical illusion of balance and stability

idealism of poses and organic form, without facial expression or personality

late classical period

dreamy expression

heavier and fuller bodies

7 heads tall and females are nude

contraposto, s curve, negative space between figure and objects

support bases

hellenistic period

spread of foreign influence because of alexander the great

cross fertilization of culture

introspection on faces, melodrama and emotion, pathos and complex poses

contorted, motion in space, clinging draperies and undercutting

shadow and light reflections, contained energy

violent and bulging muscles and veins