Class Notes: CLCV 217 - Exam 2

Archaic Period

600-500 BC or 6th c.

- Early (600-575), Middle (575-525), Late (525-550/480)

- Emergence of Regional Style

Theme:

1. Black-figure vase painting

2. The brilliance of Exekias

3. Following the development of kouroi and korai

Regions of Archaic Period

- Corinthia : Poleis - Corinth

- Attika: Poleis - Athens/Attic black figure*

- Lakonia: Poleis - Sparta

Black-figure Amphora by Amasis Painter

• Amasis Painter

• 540-530/mid archaic

• Athens

• 1st one: 2 female followers of Dionysus, wearing pelts of wild animals = maenad

• 2nd one: one on the right Poseidon is talking to Athena on the left w snake breast plates, “Amasis made me” is written side way = artist is identifying himself/signing

Black-figure Neck Amphora - Front - “Dioskouroi (Krator & Polydeuces)”

• Exekias

• 540-530/ mid archaic

  • Zoomed into/central attention on the main scene of warrior departure, artist added labels, and it is a specific narrative

  • Incision

Black-figure Neck Amphora - Back: Ajax and Achilles

• The back of the amphora has a painting! new! (both about Trojan War)

• Exekias

• “Ajax and Achilles”

  • shows the quiet/leisure moment, playing a dice game with each other

  • “Exekias made it” is written next to Achilles

  • Both of their words/dialogue is linked up with their swords

Black-figure Neck Amphora - Suicide of Ajax

• Exekias

• “Suicide of Ajax”

• 550-540 / mid-archaic

  • One of the unique suicide paintings representing 1 person and a palm tree(iconography of Troy) , planting a sword into soil = the land itself is killing him; the helmet is looking at him, another distintive bc slow down and look at the quiet moment (before or after)

Kylix

male drinking pottery *has stem!

Black-figure kylix - “Dionysos Sailing”

• Exekias

• 540/mid-archaic

• The painting is inside circular area = tondo

  • depicts Dionysos sailing as he turned kidnappers into dolphins

  • based on its structure of the cup and design, the more you drink you get to see what’s inside the cup, slowly revealing the story

  • to fully see the image: use handles to see all angles of it → making us involved, as participants!

'“Eye - Cup”

• Exekias Epoiesen

• painted thinking of when people drink and lift the cup up, somewhat acting like a mask - ekstasis (outside of yourself)

Vix Krater

• Lankonian (?) manufacture

• Bronze (shows greenish)

• 530-520

  • MASSIVE! It’s a next step up

  • Metal Vase = worth more

  • Passed down/handed down over again, ended up in grave eventually as grave good

  • reflects big trade network as it’s found in france

  • On the side handle: gothic? female

Running Girl

• Lankonian (?) manufacture

• (transported to/as offerings) From Dodona

• Bronze

• 550-540

  • Short dress indicates it’s a girl

  • Sparta girls are educated (including athletics like running)

  • Still, very rigid and frontal

Dodona and Sparta

Attika

(Athens)

Naxos

New York Kouros

• From Attika

• Naxian marble

• 600-590 (early Archaic)

• 1.95m! tall as human

  • the material shows off status, carved out of marble, carved in the round

  • frontal/rigid/still

  • nude but have necklace and headband

  • perfection of male form/ideal

  • often a grave marker

  • sanctuary and funerary context —> complicates the meaning “why big marvel carved in the round?

• Similar to Egypt!

  • influence from Naukratis in Egypt = city got greece trading

  • key difference: clothing, arms/legs not free, elongated/slimmter

  • Greeks are adopting!
    
    

Dipylon Head

• From Kerameikos cemetery in (Athens) near Dipylon gate

• Marble

• 600-580 (early Archaic)

Sounion Kouros

• From Attika

• Naxian marble

• 600-580 (early Archaic)

• 3.05m = Large scale

• right arm lost and most of the face is scratched

  • same stylistic of frontal, rigid,

  • emphasis on strengths: abs/knee caps indicated

  • there were several of these in santuary

Anavyssos Kouros “Kroisos”

• from Phoinikia (Attika)

• Parian? marble (exported)

• 530 / mid-archaic

• 1.94m

  • grave marker

  • “stay and mourn at the marker of dead Kroisos, whom raging Ares destroyed one day in the front ranks of battle”

  • eyes are smaller, proportions closer to real life

  • more “chubby/fats” around facee and body

  • soften muscular = still realistic

  • has “archaic smile”

Comparing 3 Kuros/Development of Kouroi

• Lots of debates around what they even are

• similarity - male nude: youth, beauty, athletic success, military and civic value, all similar pose/hands right next to their body/left food forward

• difference: head is getting smaller/more realistic with the proportion/face muscles, etc.

Apollonas Colossus

• from Naxos

• 6th c

• 10.7m = th most giant/largest

  • never finished

  • has beard - so not youth/kuros

  • has clothes

  • one hand is sticking out

Moschophoros (Calf-bearer)

• from Athenian Akropolis

• dedicated by Rhonbos

• Hymettian marble

• 570-560 / mid-Archaic

• 1.65m

  • sanctuary dedication

  • inscription says : gift to Athena

  • represent Rhonbos: point to a specific person

  • not fully nude

  • permanant representation

  • man + animal

Rampin Rider

• from Athenian Akropolic

• Marble

• 550 / mid-Archaic

• 1.08m

  • head is turned to the side - breaking frontal!

  • changes + continuity example

  • multi fig composition

  • smiling, has abs

  • have beard: other than beard he is kuros but debake about it, no solid answer

Auxerre Kore

• Eleutherna Crete

• Limestone

• 650-600

• 75cm

  • didnt take any note?

Nikande Kore

• from Delos ( next to naxos)

• Naxian marble

• mid - 7th

• 1.90m

  • comparable with auxerre kore!

Pomegranate Kore

• from Athenian Akropolis

• Pentelic? marble

• 570-560 / mid-Archaic

• 0.95m

  • vertial lines

  • textual freedom with female - more details in their dress

  • long hair, necklace = fancy

  • sanctuary representation

  • pomegranate is a symbol of life and death and agricultural

  • young, youthful maiden

Peplos Kore (Artemis?)

• from Athenian Akropolis

• Parian marble

• 530-520 (mid/late Archaic)

• 1.18m

  • hair is responding to the curve of breast

  • polychromy - addition of various colors

  • Artemis = goddess of wild animal

  • white color = most greek sculture use pure marble to support the idea of superior idea, tried to ignore when colored

Phrasikleia

• from Myrrhinous (Attika)

• signed by Ariston of Paros

• Parian marble

• 550-540 /mid-archaic

• 1.79 m

  • unmarried, married, death

  • necklace of pomegranete/ flowers: youth representation, life & death

  • married to death

Pireaus Apollo

• Possibly from Delos originally

• Bronze

• 530-520 - mid/late Archaic

• 1.92m

  • youth, nude male

  • looks down first “interaction” with us/humans, recognizing us/reaching out to us

  • steps forward but with RIGHT Foot

  • sense of weight with rounded and soft butt

  • centry long development w gradual changes

  • balanced only w his 2 feet = able to do so bc made out of Bronze

Early Archaic to Late Archaic Marble Sculture Developments

Archaic Architecture - 6th (10/20 missed class)

• What is the impact of material?

• previous: progression of sculpture-marble, in the round, also black-figure pottery.

• previous architecture:

  • Bronze Age - palatial complexes, power & administration

  • Iron Age - toumba, domestic wch, funerary arch

  • then temple of apollo, sacred arch

• in Archaic - toumb itselt if not monumentalized, no langs so no palace

• domestic ach mostly ephemeral materials - have to look at sacred buildings, temples and Greek religion

• greek religious practice does not require a temple = need altaer to make sacrificies

• everything else is secondary to altar

• temple is a house for the god, has cult statue that needs a home

• sanctuary is entire sacred area, temple is one structure within

• temple is bigger/flashier than altar - way to express wealth/power of polis ; emphais strenth power of community, come tg to make (?)

  • also way of ensuring gods protect polis - giant anathema/ type of votive dedication

  • temples important for competition on polis level

• 3 main places for temples:

  • in middle of astu - city/urban temple, for patron deity of polis

  • on suburban outside - panurban temple, deltics associated w transitions, on edges

  • rural teritory - for deities devoted to fertility + agneulture, extraurban country side - way to establish edges of territory, common places that are contested

• practical uses of temple

  • house for cult statue

  • place for anathemla that are valuable(gold) or delicate (textiles, ivory)

  • urban center temple as place to store polis niches, treasury

Temple of Apollo

• in Thermon, famous sanctuary of Apollo

• hekatompedon

• late 7th c - evidence of temple used for warship

• long rectangular plan, columns on outside, in middle

• columns around outside: peristyle, peripteral

• long cental room w columsn, then small back porch area

Column arrangement Vocab

• prostyle - columns only on front

• amphiprostyle - columns front and back; amphi = both

• peripteral - columns on all 4 sides

count column numbers by entrance

• 6 in left example - hexistyle peripteral temple

• 4 in top right - terastyle

• 8 - octastyle

• 10 - decastyle

→ usually even number for balance/stability

• pronaos - front porch

• opsithodomos - back room ; both have two columns that frame entrance in between ends of walls

• anta - ends of walls

• 2 colums - distyle

• left ex: pronaos and opisthodomos distyle in antis

• cella (naos) - inner chmber

• adyton - middle room before rear porch, get to two main cella

→ when describing, work from outside to inside

Doric and Ionic Style

Still have a lot of experimentals in archaic period

• Donic - top of column as squishy,curved disc (marshmellow squish out sides)

• Ionic - big swirling volutes (cinnamon bun)

• mainland grece and next - donic dominent

• island of Argean and Ionia - ionic dominic

Standard Doric Temple

• start at bottom and work way up

• krepis/krepidoma - steps up to temple

  • stylobate - top step, what columns go on

• vertical fluting - gives column scalloped edges

• capital - squishy marshmellow part

• make column shaft out of multiple columns stacked up

• entablature part - top chunck

• epistyle (architrave) - horizontal block on top of column

• frieze - alternative pattern of triflyph and metope

• geison - projects out to protect from rain

• pediment - triangle, one of 2 roof ends

• sima - water gutter part

how to know it’s doric: look for capital, then look for frieze

• metope and pediment = where decorations can be added to temple

• capital is included in upper drum, can see where drums are stacked

• geison projects out, can see on top

• 
  

Kerkyra

has famous temple for Artemis, on trade route

Temple of Artemis, Corcyra

• early archaic (590)

• stone

• Corcyra/ Corfu

• pedimental sculpture shows medusa holding her son, panthers on either side, and gigantomachy - god vs earth born giants, gods win, common on temples,

  • on left, giant= dead, on the right is zeus vs giant

• octostyle peripteral temple with pronaos and opisthodomos distyle in antis and a cella with a double internal colonnade

Ionoic Order - key distributions

• columns have a base

• donic order flutes come to a point ←→ ionic shaved down to be flat

• capital more decorative, can also decorate base

• frieze not alternating like donic - one continuous based, can dd decoration too

• distintive birth story - earliest ionic columns are freestanding in sanctuaries

  • was an anathema, freestanding, not-supporting way thing

• naxon sphinx - on top of the column secondary in importance to column part

Elevation of “standard” Ionic Temple

Naxian Sphinx

• Delphi

• 570-560 - mid archaic

• 2.22m

  • a capital (sits on top of column); votive dedication

Samos

Heraion (sacntuary of hera)

• 570-550 - early/mid archaic

• samos

• architects: Rhoikos and Theodoros

• dipteral Ionic Temple

  • dominated life on island

  • had some of earliest temples - built 3 times bc burned down - got bigger

  • so big needed 2 rows oc columns in peristyle to support root

  • dipteral - two rows of columns all the way around

  • so famous that we have architect’s name

  • octostyle dipteral ionic temple w pronaos and cella with double internal colonnade

Temple of Artemis

• 560 - mid archaic

• ephesos

• theodoros, khersiphron, metagenes

• 115 × 46m

  • size of football field!

  • ocotostyle dipteral ionic temple

  • central area - open to sky

  • one of 7 wonders of ancient world

  • highly decorated

  • citiy of ephesos used the temple on its coin

  • trends in monumentalization: sculptures & temples - egyptian style influence

Ephesos

special cite of temple

Classical Period (500-400 = 5th)

• Early (500/480 - 450)

• High (450-400)

• experimentation/innovation period

Delphi

• Panhellenic to Apollo (god od music)

  • played sets of games ‘Pythian’ = as prestigious as olympic - musician/poetry

• ask questions to god (shld we go to war w sparta..)

• amphictyony - an ancient religious association of neighboring tribes or city-states in Archaic and Classical Greece formed to protect, maintain, and administer a shared sanctuary or temple

Man consulting the Pythia

• Red-figure kylix tondo

• Codrus Painter

• 450-430

  • pythia = priest

    
    

Mt. Parnassos (Delphini)

• sanctuary raps around the mountainside

• stadium

• sanctuary to apollo - upper sanctuary

• gymnasium

• tholos - lower sanctuary

Sanctuary to Apollo - Upper Sanctuary

• have to walk pass treasury - a small, temple-like building erected by a city-state inside a major Panhellenic sanctuary—such as Delphi or Olympia—to store and display its valuable votive offerings, war spoils, and religious dedications

• ‘some poelis are better”

Siphnian Treasury

• 525

  • all made out of marble

  • looks like a temple, but it’s not; it’s a treasure box!

  • ionic (bc decorative)

  • 2 kores = caryatid = only in ionic order

  • fancy decrates of female/kore

  • another visual expression of their wealth

• Foundations of Siphnian Treasury (picture on the bottom left)

Siphnos

• known for silver & gold

• wealthy

caryatid

a sculpted female figure that serves as an architectural support, standing in place of a traditional column, pillar, or pilaster to hold up an entablature, roof, or porch

Siphnian Treasury - east pediment

• 525

  • apollo and herakles are fighting over tripod

  • eventhough it’s a victory of apollo, herakles is shown to be bigger

Siphnian Treasury - east frieze

• 525

  • zeus is weighing

  • still stiff

  • some labels/small that no one can see but impulse to label & identify is to show off “i know how to read & write”

Gigantomachy north - frieze

• 525

  • ‘Cybele’ : mother goddess, drives chariots

  • overlapping: give us depths

  • paint, metal attachments, inscription

  • comparative to Grave Circle A

Temple of Apollo

• 3 mythical phases

  • archaic temple

  • late 6th temple

  • 4th temple

• plan of the temple of apollo

  • restricted entrance

  • phytia - delivers oracle

  • hexastyle peripteral temple w a disty;e in antis pronoas and opisthodomos, a noaos, and a adyton

Fragments of Chryselephantine Cult Statues

• 6th BCE

• fired - why it’s black

• eyes, smile: same pattern how to depict human

• chryselephantine (gold & ivory) = most expensive, degrades quickly, they came from trading Africa

Changes in Archaic Sculptures —> Classical Sculptures

Kritios Boy

• marble

• from the Akropolis (Athens)

• 480-460

• 1.17m - lil bit below life size

  • lower arms and lower leg missing

  • anathema = votive dedication

  • Kritios - people assume based on the style

  • **Represents changes of archaic → classical period style

    • new hairstyle: rolled up

    • breaking frontality/not looking at us: off to the side

    • right leg forward

    • doesn’t have the archaic smile

    • softer muscles

    • contrapposto - shoulder,hips,knees in diagonal lines: reflects shifts in balance/movement of body→ more realistic to show humans stand

    • emphasis on movement

Euthydikos Kore

• marble

• from the Akropolis

• 490-480

  • The lady is now starting to move; one leg is stiff, and the other leg is stepping forward

  • artist signature

  • lost archaic smile

  • hair is responding to her breasts/drape of hair and clothing

  • female = use clothing to show body contour: drape/ripple effect

  • comparable to peplos kore: better proportion of eyes, volume of face, eyelid, each hair more responsive to the breasts, more details of clothing. = small little changes that are closer to more realistic

“Severe” Style

• Consistent approach to change

• Movement

• Volume in 3D

• more and more in proportions

• Marble sculptors and bronze sculptors are different; people are specializing.

• 480 = end of Persian War → what makes the ideal youth?

Delphi Charioteer

• Delphi

• Bronze

• 475-466

• 1.80m

  • Dedicated to someone who won Phytian game

  • he is a part of a MASSIVE votive dedication (prob horse would have been there)

  • not in the nude because he is a charioteer

  • long vertical lines; draw our gaze up to him

  • criss-cross strap at back: folds that are big and some folds that are small

  • winner - owner of the horses

  • give us sense of liveness

  • eyelashes details

  • fancy headband made out of silver

  • bronze material - can stretch out arms in all directions without extra support.

Andokides Painter (&Lysippides Painter?) - two painters?

• don’t have to use incisions - get a smaller paintbrush, paint in

• bilingual pottery - one side is black one side is red figure

• transition to red figure!

Bilingual Amphora

• Andokides

• 530-510

  • Why red? More tools for adding details with paint brushes, more flexibility, more painterly style

Sarpedon Krater *important!

• pioneer group - testing out the new way of doing things w red pottery

• Euphronis - athenian

• 520-510

  • mixing bowl

  • showcase centerpiece

  • evidence that they fixed it = very valuable

  • Trojan War - Sarpedon (trojan side, son of zeus) in the middle dying, zeus sends messengers sleep and death, they pick up the dead body and bring back to his mother to give proper barier, guided by Hermes (messenger), both soldiers looking at the middle, sarpedon is portrayed as HUGE

  • sold to Etruscans in italy/rome

  • included artifacts - 1.3M worth from Met had to return back

  • Athenian object baried in Etruscans

  • lifeless body - depicted through the painting

  • significant details in the sleep and death’s wings - possible because red pottery

  • eyes even of sleep and death shrunk down, better proportions

  • shading(diluting red) in btwn abs & added red

  • really attention to details

Western Parts Map

• apoikia = colonies

• lots of peaceful interactions because of trade

• red fig - exception really starts at Athen

• lots of things start in west and trickle over

Paestum = Poseidonia

• found by Sybaris

• 600

• second-tier colonies

  • nice even grid system - plan the brand new city from the beginning

  • have zones for different types of activities

Tomb of the Diver

• Cemetery

• cist-grave = standard practice (digging and putting body in)

• Inserted a stone in it and the interior and lid is painted

  • removing filler/big open spaces

  • attention to natural environments

  • single solitary figure is the emphasis - metaphor for death itself

• Inside - etruscan style

  • at symposium

  • see kylix

  • all men 2 to a couch

  • on the side: bronze krater

  • playing drinking game with finished kylikes - flick them: kottabos

• diff cultures coming into context in the tomb!

Temple of Hera I “The Basilica”

• 550-520 (mid Archaic)

• Doric

• 9 columns - Ania style

• tristyle

• two doors to get into the cella and adyton

Temple of Hera II

• 450

• built 100 yrs later

• much more standardized

  • hexastyle peripteral doric temple

  • need to step up to enter cella

  • Poseidonia

  • (or Zeus or Poseidon)

  • Capitals are firmer and straighter compared to Hera (I)

  • moving towards symmetry

Motya “Charioteer” (Motya Youth”

• 470-450 (Early Classical)

• Parian marble (expensive)

• 1.81m

  • Delphi’s charioteer drapery is similar but there is no evidence of horses

  • maybe an athlete, but no real consensus; do know he is a youth w no beard, muscular body even with the

  • clear attention to the torsion in the space

  • rigid frontality gone!

  • head is twisted, body uses contropposto = no static, in motion

  • one leg is straight, and the right leg is at rest

  • real interest in human body

  • head is rough out - hat/helmet/crown: common procedure of things added on the sculpture

  • Greek material, Phoenician colonies, athlete, dancer, representation of god?

    • was this made by Greeks or made for Carthaginians using greek material

    • bigger theme: interconnection/trade

  • think of the changes since archaic sculpture

  • relax, more volume, more mass, twisting in space

Changes in Sculptures from End Archaic to Early Classical

• new proportional system: eyes smaller, no archaic smile

• contrapposto: turn head off-center

• severe style - what’s causing the change? → Persian War (persian move further and further west: invasion in lands and sea → greeks who are not unified = in big danger)

Persian Wars

• Greeks come together after

• Wealth enters from the battles/big surge of wealth

bigger cultural event might have impacted long-term military engagement with huge loss of life, athenian underdogs

→ movement towards red figure, traumatic experiences to the youth reflecting on “severe style”

Berlin Painter (in museum berlin) - Amphora - Iyre player

• 490

• Berlin painter painted a lot on an amphora (large canvas)

• red-figure style - reverse of exekis

  • Everything else is gone except a black background; a figure is floating in the middle of a normal, average person playing an instrument

  • forcing our attention on one thing, not distracted by any other stuff

  • introspection - looking to the side or into the distance, not interacting with us.

• other side: older man - showing juxtaposition of youth and old man!

  • dilute glaze to add details

  • difference in paint brush

Berlin Painter - amphora - Hermes and Satyr

• 500-475

  • more complex overlap: stacked 3d, half man/dear, sader(vine leaves), hermes

  • inscriptions

  • interest in music (common)

Niobid Painter (*def super important)

• mid-5th (460-450)

• calyx(basket) krater(to mix wine and water)

• red fig style in mid-5th century*

  • Niobid - greek mythology

  • one side has Niobid

  • other side has

  • figures are floating - changing/experimenting with ground levels in one scene, rocky landscape = attention to natural world, one is behind the rock, give us sense of death

  • gods athena(female w armor)

  • Heracles is standing on a stepped podium(caryatids/statue/objects) → people think Heracles is a statue → not just a random gathering but Athenians gathering before the marathon, relax, pre-battle, gathered around Heracles = representation of a historic scene*

• Details

  • fine paintbrushes, drapery respond to movement of the body,

  • gods vs humans : act, look differently → how in pottery?

  • frontal feet

Classical Period 2: Pottery & Sculpture 11/5/26 Thr

Themes:

1. White ground technique

2. Bronze tensile strength

3. Transition into the Classical period

Kylix with white-ground tondo

• 490

  • fragile → so not many of them exist

  • no incision, closer to red figs

  • maenad (미나드)

  • snake as a headband

  • Thyrsus - a sacred wand or staff made from a stalk of giant fennel wrapped in ivy vines and leaves

  • white background: more ability to add colors, dilute slips

Lekythos

• popular type of pottery painted with a white ground

• Oil Container (olive oil) - used at grave sites, funerary assemblagerotuals

• In graves, in cemeteries, next to graves, in tombs - helps preservation

Achilles Painter

• 440

• Lots of White-ground Lekythos

  • warrior departure, interacting with seated woman

  • Domestic scenes - seated in a chair + wall details

  • Shading details possible bc white background

  • circulation of view points/gazes = man is looking at wife, and she is looking at husband, helmet is looking back at him - intersecting gazes - nothing is looking back at us

(anothera) Achilles Painter Lekythos

• 440

• White ground Lekythos

  • simple line = gives us a sense of geology

  • red, yellow, elements in hair, musical instrument

  • quiet, intimate, introspective approach to the human body; toned down

  • zoomed into a figure (kind of similar to Exekias)

Achilles Painter

• white-ground lekythos

• 440

• depict funerary events in a funerary item

Transition of Lekythos

• monumentalized, petrofied (turned into stone)

• object → stand for grave itself

Marble Lekythos

• 375-350

• 1.03m

  • made by sculpture

Aegina

small island next to Attica

Temple of Aphaia

• Aegina

• 500-470

  • hexastyle peripteral Doric temple with distyle in antis pronaos and opisthodomos, cella with double internal colonnade

  • door into central area = unusual

  • ramps - accessability

WEST pediment

• dying worrior

• smiling/archaic smile

• almonds, puffy eyelids - end of 5th c.

• fairly frontal, leg is crossed over

• scene from trojan war

EAST Pediment

• Also Trojan War, Athena in the middle, dying warrior

• Difference: facing away, muscular in torsion/whole body twisted, thinking about the positioning(extending out for visibility)

• Early Classical period characteristics, no archaic smile, grimaces of pain

• BUT both on the same pediment

  • distinct workshops?

  • actually made in different time periods?

  • = why big date range

  • contradictory sculptures

Artemision Zeus

• 470

• 2.90m

• Bronze - dynamic in posing bc higher strengths, can stretch out arms wo worrying they will break, one feet can balance

• dynamic, lots of movement, torsion, sense of stretching

• prb sanctuary

  • “gifts from Poseidon”

  • adult, bearded male, long hair breaded headband, mature man, still emphasis on abs/athleticism —> represent male god

  • Poseidon(trident), Zeus (thunderbolt) would not cover his face, so it’s Zeus

  • not looking at us/not interacting with us

  • persian war - most mature man: trend of sculptures depicting mature bearded man than a youthful man

Lost Wax Bronze Casting

how to get a hallow bronze statue

The Riace Warriors

• picked up by Romans, ship reck → riace, italy

• carrying things, not sure who they are

• over life-sized 1.96m

• bronze

• 460

  • contrapposto,5thc, - weight is shifted

  • showing musculature

  • right arm down, left arm up - holding a shield? attachments are missing: spear, weapon

  • heroic nudity - emphasize invulnerability, athleticism, adult, bearded but still lots of stregnths, powerful legs = idealization

  • not much info what what they actually (like for grave or)

Riace A

• Diver found it

• individual curls of hair details, but top of his head is smooth → mayb worn helmet, big beard

• details of the face: different metal alloys to show diff colors

• shoulder blades look diff bc of twist of body

• idealized male form

Riace B

• Inle(added afterwards) lip, eye shade, different type of helmet, full beard = still def different characteristics/individualization

  • yet still represent what we have seen

Doryphoros

• Classic Classical Piece! but doesn’t exit anymore

• Roman marble copy of bronze original by Polykleitos (most important classical sculptures in bronze)

• dozens of Roman copies in stones → all follow same patter → can predict what original look like

• over life-size

• mid 5th century

  • contrapposto, one arm/leg bearing, one side relaxed, hip to the side

  • stone sculptures can’t stand alone, so have stones/studs supporting the arm/leg, etc.

  • early Roman hairstyle - not sure bc up to date style or bc original had that style

  • restful moment right before action

  • encourage us to walk around the statue

• “Polykleiton Canon”/ style

  • 7:1 proportion system (7등신)

  • contrapposto - hips, ankles, shoulders, everything at a diagonal angle

  • chiasmus (X) - x composition (making Xs in the body)