Greek Art Final

Panathenaic amphora

- 500-475

- Kleophrades Painter

- black figure; Athena on front, depiction of race won on back; Athena in promachos (front of battle) stance

- inscription “From the games of Athens”

Old Parthenon

- 490-480

- Akropolis, Athens

- Unable to finish because Persians invaded and destroyed everything; Athenians fled the city with Athena Polias

Panathenaic amphora

- 480-470

- Berlin Painter

- black figure; Athena on front, depiction of race won on back; Athena in promachos (front of battle) stance

Temple of Zeus at Olympia: East Pediment

- ca 470-456

- where entrance is

- Pelops cheats during chariot race to marry Hippodameia, but then his whole family line is cursed; reminds athletes not to cheat

- Seer: old man with prophecies and is looking Pelops and can see his future

Temple of Zeus at Olympia: West Pediment

- ca 470-456

- Lapith vs Centaur: Lapith man and woman are getting married, then centaurs came and stole the women at the wedding, so Lapith man is fighting

Temple of Zeus at Olympia: Interior Metopes

- ca 470-456

- Herakles depicted because he is the ideal athlete

- had chiasmus and vertical images

Cult Statue of Zeus

- mid 5th century

• Chryselephantine

• Pheidias

• 1 of 7 ancient wonders of the world

• in Temple of Zeus, Olympia; huge

Parthenon

- Began 447, dedicated 438, finished 432

- Pentelic Marble

- Athens

- Architects: Iktinos and Kallikrates

- Master Sculptor: Pheidias

- Used optical refinement; 4:9 ratio on all measurements; doric on outside, but volute capitals on inside; entire building is votive dedication

- Frieze: around cella; men and women of all ages except for one section, which is a gathering of Gods sitting down 

- East Pediment: shows birth of Athena; clothing clinging to body to show form

Athena Parthenos Cult Statue

- dedicated in 438

- Chryselephantine

- Parthenon

- Pheidias

- gold in sections, so they can melt it down and reuse it later; pi internal colonnade surrounding it; holding symbol of victory in right hand

- conspicuous consumption

Propylaia

- 438/7 - 432

- White Pentelic marble

- Akropolis

- Architect: Mnesikles

- acts as transition between normal and sacred world; doric columns on outside, ionic on inside; stairs and ramp for sacrificial animals

- pointed towards Great Altar; 3:7 proportion; monumentalizing Akropolis through Propylaia

Erechtheion

- 430s-405

- Pentelic marble (except for backdrop of east facade (eleusinian limestone)

- Akropolis

- houses Athena Polias after old temple burned down (in east facade)

- North porch: hole in ground and ceiling because Zeus threw lighning bolt or Poseidon threw trident

- adapted itself to landscape; different elevations instead of built on podium

Temple of Athena Nike

- 420s

- seen before entering Akropolis to the right; monumentalization of a natural feature

- ionic columns, continuous frieze of battles

Temple of Athena Nike: parapet

- 420s

- repeated Athena and Nike; wet style drapery

- except for the Sandal Binder: not Athena of Nike; very sheer drapery; little lift of drapery right above foot (late 5th C theme)

Temple of Apollo at Bassai (architecture)

- last quarter 5th C

- local limestone

- Bassai, Arkadia

- Iktinos? (architect)

- Doric outside, spur ionic colonnade in cella, central Corinthian column, lateral aperature door/window

Temple of Apollo at Bassai: internal ionic frieze

- wet style drapery, torsion, frontality

- Centauromachy: more violent, action, and muscles

- Amazonomachy: squatier legs

Olynthos Houses

- flourished in 432-348; abandoned in 316

- Olynthos, Macedonia

- city in orthogonal plan

- Pastas style house: 2 stories, splits house in public front area and private back area; front area has courtyard and Andron

Hegeso Stele

- ca 400

- marble

- Kerameikos cemetery

- Hegeso with a servant to show her high status; inscription says she took a both, picked out fine clothing and jewelry, prayed before her death

Dexileos Stele

- 394

- marble

- from Kerameikos cemetery

- Dexileos is the son of Lysanios and not buried where they put the stele (buried in Athens with other soldiers)

- High status: rode a horse, framed in Naiskos, two burial spots

- He is fully clothed, while person killed is nude (opposite of norm)

Piraeus Athena

- ca 350

- bronze

- found in shipwreck in Piraeus (same one as Apollo, diff time)

- wearing an aegis that has face of Medusa; not wet style

- interacting with audience

Mausoleum of Halikarnassos

- ca 350

- Caria

- Pytheos (architect)

- Tombs of Mausolus (and his wife); several tiers tall, life size and colossal statues; only ruins of it today

- statues of Mausolus and Artemisia: of marble and aged

Derveni Krater

- ca 350-330

- gilded bronze (bronze covered with gold leaf)

- Derveni, Macedonia

- Dionysos and Ariadne in middle; maenads and satyrs around them; wet style

Knidian Aphrodite

- ca 350-330

- Praxiteles

- pictured as nude, first time this happened

- a cult statue made for a temple

- epiphany

Antikythera Youth

- ca 340

- bronze

- found in shipwreck off Antikythera

- mix between Polykleitos (more stout, 7:1) and Lysippos (arm reaching out)

Hermes & Dionysos

- late 4th C (ca 340?)

- marble and bronze

- Olympia

- Praxiteles? (architect); because of exaggerated contrapposto and softening of muscular body

- not certain that it is Praxiteles that made it, only Pausanias said it was

- shows private moment between Hermes and baby Dionysos

Apoxyomenos (Scraper)

- ca 340-330

- bronze

- Lysippos (artist)

- holding a strigil

- new canon: more contrapposte and S curve, 8:1 ratio (longer legs, smaller head)

- Lysippos made the idealized version of people, while Polykleitos made the reality version

Tomb 1 (Rape of Persephone)

- 336

- could be for Philip II (and his wife); found two bodies in there; Doric frieze, high status

- Hades and Persophone: painting that shows Hades kidnapping Persephone during fall and winter; crops dry out because Demeter (mother) is sad

Portrait of Alexander

- ca 336

- Lysippos

- always has an anastole and looking away; portraiture in idealizations

Marathon Boy

- ca 330

- Praxitelean Style, with softened musculature and severe S curve

Pella Pebble Mosaic

- last ⅓ 4th C (330-300)

- Pella, Macedonia

- Gnosis

- depiction of stag hunt, Gnosis signed his name in pebbles, flowy drapery

Pella Pebble Mosaic

- last ⅓ 4th C (330-300)

- Pella, Macedonia

- flowy drapery, lion hunt, thin strips of metal for outline

Pella Pebble Mosaic

- last ⅓ 4th C (330-300)

- Pella, Macedonia

- Dionysos riding a leopard and holding a thyrsus (similar pose to Derveni krater)

Royal Tumulus at Vergina

- 4-3 C

- Made by piling up dirt to make a hill, for the royal family of Macedonia

Silver tetradrachm of Alexander (x2)

- ca 325-323

- silver

- to distribute farther for Alexander to gain support

- he is depicted almost god-like; has Herakles’ lion cap on and has Zeus sitting down with “Alexander” along the side; another one him with Zeus’ horn on

Tomb 2 (Hunt Tomb)

- 317

- Maybe Tomb of Phillip II or III

- found grave goods, Doric columns around door

- Fresco above doric frieze: shows people on horses in forest and mountain in background; shows dimension

Silver coin of Lysimachos

- 305-281

- silver

- depicts Alexander the Great, not Lysimachos, which shows that they are in the same lineage

- gains support, propaganda

Pergamon Citadel

- arose in 240s

- built on hill, higher status towards the acropolis, organized by terraces

- capital of Attalid Kingdom; trying to make it the new central city of Greece

Great Altar of Zeus

- ca 200-150

- hellenistic “baroque”: exaggeration of gigantomachy on continuous frieze

- on lower terrace; entrance in back corner because they wanted everyone to appreciate the art

- Zeus and Athena near entrance; shows pathos for the giant that Athena is attacking

Temple of Athena Polias Nikephoros

- late 4th/ early 2nd C

- Philetarios (architect)

- on the middle terrace, but smaller than Zeus’ temple to establish legitimacy in a new city

- dedicated to Athena of the city who brings victory

Nike of Samothrace

- early 2nd C

- Parian marble with Rhodian marble base

- Samothrace (island)

- Nike fluttering down to land on a boat to declare victory, entire body lunging forward;

- dedication for a naval victory

Terme Boxer

- ca 100

- bronze

- has injuries on his face, ears, and hands

- shows Pathos; taking a rest, sense of defeat

- located in Rome bath complexes now; taken out of original context

Slipper Slapper

- ca 100

- marble

- Delos

- aphrodite takes off her sandal and swipes away Pan while Cupid is around them

- moment of epiphany; no interaction of Gods with audience

- showing legacy of Praxiteles with the nude figure