Quiz/Test1 Greek Art/Arch

Amphora by the Dipylon Master, Dipylon Cemetery, Athens, LG, ca. 750 BCE

-best painter of large funerary vases

-grave marker

-belly handle amphora, for a woman

-enitre vase is decorated

-Band in middle shoes prothesis scene;part of funeral where the body is layed out for people to pay respects

-body would normally be covered by shroud

-show people in composite view

-secondary decoration

Palace at Knossos,LM, ca. 1550-1375 BCE

-largest palace in crete, most likely ruled by ruler of the area

-minoan

-residence, administrative center, manufacturing, storage center, agricultural goods, religious center

-ahslar masonry:rectangular blocks laid in horizontal pattern, no mortar

-unfortified

-Hall of Double Axes: double axis cut into stone walls, two large rooms connected by pier and door partitions

Bull Leaping Fresco from Knossos LM I, ca. 1550-1450 BCE

-show typical minoan man

-difference in gender based on color

-showing tradition of bull leaping

, Mycenae Citadel Wall Phase I: (LH IIIB): ca. 1300-1200 BCEca. 1380 BCE Phase II: ca. 1250 BCE Phase III ca. 1200 BCE,ashlar, cyclopean masonry, Cyclops

Lion Gate, Mycenae, LH IIIB, ca. 1250 BCE,projection bastion, makes soilders file into small space, relieving triangle and lintel block, decorated with a pair of lions, possible could have been griffins, minaoan style column.

Palace at Pylos, LH IIIB, ca. 1300-1200 BCE

-on a hiltop, unfortified, violently destroyed by fire, ashlar block masonry , rubble and framework for houses,2 flights of stairs,coutryard, megaron

Snake Goddess/Priestess from the Palace of Knossos MM III, ca. 1700 BCE

-bare breast, bell shaped skirt, tight belt and apron

-snakes around arms, waist and shoulders

Plan and Reconstructions of the “Heroon” at Lefkandi, 10th c BCE EG

-apsidal

-largest known building from the dark age

-dtone sockle with mudbrick walls

-funeral complex

-center pit with north and south compartments

-for human remains and horse

-there is room for a pyre, where human remains are burned

-a heroon is a shrine where a hero was worshipped

-most likely was owned by a rich family

-cemertary beside heroon where phoenician seal was found, eqyptian necklace menaing there was trade

Protocorinthian Olpe, ca. 650-625 BCE Late Procornithian

-pitcher, used to pour out liquis at symposium

-black figure technique

-animal style decoration

-incision and added red

-typical of procorinthian style

-rosettes

Marble Statue of Nikandre, Delos, ca. 640 BCE, H. 5’ 9”

-found at island that is sacred to apollo

-statue shows two innovations: statue is over life sized + use of marble, show influence of egyptian

-Statue is Kore: standing clothes fmale

-Daedalic stule: triangle head, hair, clothes

-possible to be godess, nikadre, or worshipepr

-has text inscribed onto statue: boustrephedon, egyption custom

Bronze Horse Votive, Olympia, ca. 750-700 BCE Geometric

-possible significance of horse votive

-stylized, depicted an artificial way of drawing horses

-similar to style that was painted on hoses

-geometric period

-Late Geometric Period

Chigi Vase (Olpe), by the Macmillan Painter, Corinth, ca. 650 BCE

-not typical for procorintian style

-division into small friezes seen in animal style but is with humans

-showing narrative scenes with oplites and earliest depiction of them through art

-a lot of amount of overlap

-use of different colors, yellow, brown, which is unusual in black figure painting

-includes procession of horemen hunting

Vapheio Cups in a Mycenaean tomb, but probably of Minoan manufacture, gold, LM I, ca. 1550-1450 BCE

-evidence of trade and contact

-tecnique of reposse, hammering back to raise pattern

-showing peace vs violent capturing of bulls

Treasury of Atreus,LH IIIB, ca. 1250 BCE,

-built into existing hillside

-tholos tomb

-dromos view:entrance leading to the tomb

-lined with ashlar masonry

-entry has a lintel block and relieving triangle'

-corebelled masonry

-has original relief decoration:m green marble,engaged columns

NOT ON EXAM

Bronze Dagger Blade with a Lion Hunt,Grave Circle A, Mycenae, LH I, ca. 1550-1500 BCE

--style of dagger is minoan seen in waist and flying gallop pose

-owner is mycenean

-show influx of wealth in mainland greece

NOT ON EXAM

“Very Rich Athenian Lady,” Athenian Agora, MG, ca. 850 BCE, lady was very rich, 50 vessels, gold jewelry, belly handle amphora, decoration accents imporant of vase.

NOT ON EXAM

Late Protoattic/early Black Figure amphora by the Nessos Painter, Orientalizing Period, ca. 625-600 BCE

-balck figure technique

-shows mercules fighting centaur nessos and shows gorgons

-insciptions on vases start to become popular

-centaur is grabbing beard in pleading motion

-pose of gorgons are in knee running position

-belly amphora

Cf. Temple of Apollo at Thermon, ca. 625 BCE (Orientalizing Pd.)

-stone bottom and mudbrick walls

-structure of wood and terracotta tiles for roof

-temple is long and narrow, typical

-houses cult statue

-back porch

-Early Doric style

-colmuns would be in doric style as metope has a wooden triglyph and narratives of greek yths

Bronze Statuette dedicated to Apollo by Mantiklos, from Thebes, ca. 700-680 BCE, H. 7 4/5”

-has lingering traits of geometric style shown in triangle chest

-eyes were inlayed with contrasting material

-unknown who it represents base on hole in hand

-lines at wasit and shoulder show may have been wearign chestplate

-inscription on legs is one of the first greek sculpture inscribed with dedication

-writing on body gives orientalizing style

-writing on base is greek while this inscription shows “quid pro quo” which is gift for gift,

-bourstrophedon, epyptian inspiration

Limestone Statuette from Auxerre (France), ca. 640 BCE, H. 25 ½”

-limestone

-most likely made in crete

-in gesture of worship

-deadalic style triangles

-suggests artist who had woodwrokign skills could do this

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: Temple of Artemis at Kerkyra,580BCE

-limestone 

-first doric temple built completely in stone 

-8×17 columns, enough room for another set of columns on inside (pseudodipteral)

-two porches with 2 columns in antis

-earliest psedudipteral-has doric angle contraction

Temple of Artemis at Ephesus,560BCE

-contemporary with Hera III

-one of the earliest Ionic temples

-size of a football field

-deep porch with access to cella and small room that had unknown function

-King Croesus paid for some of the columns

-some columns have a relief at the bottom for decoration

Siphnian Treasury, Delphi, marble, ca. 530 BCE

-richly decorated in scultpure

-very closely datable

-Has a Kore that replaces one of the columns

-has a continuous frieze and Ionic Treastury

-East frieze has the council of the gods and trojan war, the other frieze shows a gigantomachy, battle between gods and giants

New York Kouros, said to be from Attica, ca. 600 BCE, marble, H. 6’ 4 ½”

-called new york because held in new york

-well above normal height

-left leg step forward, inspiration from egyptian sculpture

-arms down in fists

-stiff frontal perspective

-space between arms and legs

-archaic in patterns seen on muscles,bones,tendons, shown as grooves or ridges

-head is too big for body

Anavysos Kouros, ca. 530 BCE, from Attica, marble, H. 6’ 4 ½”

-inscription on base speaks how Croesus died in battle 

-function of piece is as a gravemarker

-has more naturalistic proportions

-head smaller more realistic to 3d details 

-head has archaic smile 

-patterning in hair 

Calf Bearer (Moscophoros), dedicated by Rhonbos, Athens Acropolis, 560 BCE, marble, H. 5’ 5”

-not a Kouros as seen in position and subject

-bearded man, full grown adult

-is a votive showing a person carrying a votive offering

-clothed

Phrasikleia, from Merenda (Attica), ca. 540 BCE, marble, H. 6’ 1”

-grave marker of Phrasikleia

-Kore-unmarried woman

-common name of persephone

-even though phrasikleia is not married in life, hopefully she is brideof Hades in afterlife in inscription

-rich jewlery

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NOT ON EXAM

Kore 682, Athens Acropolis, ca. 520 BCE, marble, H. 5’ 11”

-chiton w himation

-votive

-separate right arm

-has complex patterns and folds

-folds respond to hands

had a meniskos, bronze disk to protect head

Franҫois Vase, Attic Black-figure Volute Krater, by Kleitias (painter) and Ergotimos (potter), from Chiusi, Italy, 570 BCE,

-showing a scene of Athens talking over Corinth

-Athens is influenced by Corinthian techiques in painting 

-only one frieze has animals others are narrative greek mythology

-over 200 figures, archictecture and inscriptions 

-top frieze is most important as it is the tallest 

-dhowing a procession of guests and gods to the werdding of peleus and thetis, parents of herakles

-singifigane found in italy means that athenian vases are being exported.

NOT ON EXAM

Attic Black-figure Amphora by Exekias: Achilles and Ajax Playing a Game, ca. 540-530 BCE

-heroes Achilles and Ajax, identified by inscriptions, are shown seated and intensely focused on a game

-The inscriptions coming from their mouths clearly state their scores: Achilles calls out "four" (tesara) and Ajax says "three" (tri)

-black-figure technique

-represent the competitive rivalry between the two warriors or a metaphor for their shared fate, as both would meet untimely deaths

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Attic Red-figure Calyx Krater by Euphronios: Herakles and Antaios, ca. 510-500 BCE, H: 19”

One of the Pioneers: using new boldness and experimenting with new poses and views

-Antaios is a giant, seen with unkempt hair, representing the barbarians. Herakles is the hero of greek civilization

-herakles lifting him in the air and strangling him, showing strength of greeks

-new pose of frontal torso with frontal leg.

-Rare depiction of showing emotion in archaic art

Attic Red-figure Amphora by Euthymides: Three Revelers, from Vulci, Italy, ca. 510 BCE, H: 23 3/5”

-showing man coming back from symposium, drunk

-done in red figure, where the subject is now most popular to be everyday life

-man dressed in himation with styalized folds

-eye is frontal but iris is more forward for natural look

-painters are competing with eachother

Temple of Zeus at Olympia, East (Front) Pediment: Preparation for the Chariot Race between Pelops (suitor) and Oinomaos (king of Pisa and father of Hippodamia) for the hand of Hippodamia, marble, H. of Zeus (as preserved) 10’ 2 ½, 560BCE

-shows prepration of chariot race between Pelops and Oinamos for hand of Hippodamia

-Pelops bribed and put pin in Oinomos chariot that made him fall and die

-represents moral lesson for olympic competitios about cheating

-Severe style shown in strong chin and thick eye lids

-drapery reflected in weight shift on person with straight vertical folds

-interest in anatomy shown in different gestures and poses

-showing Iamos, the seer prochet, showing emotion and peeople at different ages.

Diskobolos (Discus Thrower) by Myron, Roman marble copy of a Greek bronze original of ca. 450 BCE

-copy of Greek Bronze

-made with aid of pointing machine tool, measuring device to copy scale

-2 points show guarantee of authenticity

-pause in action 

-muscles attempted to be shown but not correct based on tension 

-interest in anatomy 

-support in tree trunk and hands on knee to keep structure

Delphi Charioteer, 460s BCE, bronze (with copper, silver, onyx),

-burried, property of gods

-over lifesize

-holding parts of horses

-long linen chiton crossed in back to avoid getting stuck while riding 

-proportionally starnge because of long legs

-optical correction for riding a chariot 

-slightly turned right but there is equal weight 

-inlaid eyes 

head, body, arms all made at different times

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Cape Artemision Zeus or Poseidon, ca. 460-450 BCE, bronze,

-found in shipwreck 

-was throwing a thunder=zeus, was throwing triton=poseidon

-flat when viewed from another angle 

-early classical= momentary pause in action 

-inlaid eyes, fine detail in hair and beard, patches of imperfections from errors

Riace Bronzes, ca. 460-450 BCE

-found in a shipwreck

-statues most likely from Greece to Rome

-statues exhibit weight shift

-inlaid eyes

-one cap unknown, possibly a helmet of a hoplite, other hat possible “Alepekis” which is a hat of fox fur

-statues perhaps displayed at Athenian Acropolis

-Possible to have represnted difefrent skin colors based on layeing on bronze

Attic Red-figure Krater by the Niobid Painter: Death of Niobe’s Children, 460 BCE,

-Myth of how Niobid boasted about children and being a better mother than Leto, in return her children killed her children

-New approach to showing 3D space by makng mountains / rocky landscape but still all are same scale

-higher figures were meant to be farther away

-some inspiration for this were monumental paintings

Parthenon (Temple of Athena Parthenos), 447-432 BCE

-Doric Temple

-Architects: Kallikrates and Iktinos

-built of pentalike marble

-cella with cult statue

-optical refinement: stylobate curves down at the ends, corner columns thicker, closer together, doric angle contraction, long walls of cella lean inward , entablature and pediments lean outward

-Scultupture in metopes, both pediments, and ionic frieze 

Metope Subjects: centauronomy, amazonomachy, trojan war, gigantomachy, power of greek civilization over barbarians 

Temple of Athena Nike, mid -to -late 420s BCE, marble