Archaic Art - Greece (10/10)

Ancient Greek Art

Experimentation with forms of vessels, firing techniques, and polychromatic pots. Funerary urns for cremated remains are common. Sculpture is meant to be viewed from all sizes – becomes increasingly complex and “steps out” of the marble block. Male nude form is depicted in a naturalizing, yet idealistic form – athleticism is highly valued. Greek mythology blends with Mesopotamia myths, as the Greek gods and goddesses become better defined. Mythological scenes appear on pottery, as well as mourning scenes, war, daily life, and hunting.
Archaic Period

1200-800 BCE - Greek Dark Age. 700-480 BCE - Archaic Period. The phrase “archaic” typically refers to the start of a culture. Archaizing – looking back to the past for artistic elements meant to invoke memories of origin or former leaders. Begins with a population increase across Greece. Changes in language, culture, and art. Governmental changes – eventual early democracy. Daedalus used the same compositional patterns for his statues as the Egyptians did. Greek statues look very similar to Egyptian statues.

Geometric and Orientalizing Periods

800 - 600 BCE (approximately). Geometric Period – human figure returns to Greek art, but not in large statues, mainly in small bronze figurines and some painting on ceramic vessels. Geometric patterns prevail. Geometric vessels frequently serve as grave markers. Orientalizing Period – less geometric designs on pottery. Styles are inspired by Syria, Phoenicia, and Egypt. Bulls, griffins, and other mythical creatures are sometimes seen.

Terracotta pyxis:

Material: Terracotta

Date: 700 BCE

Location: Met

Greek Vase Painting

  • Evolution of Pottery:

During the Archaic and Classical Periods in Greece, pottery becomes very elaborately painted. Artists begin signing their names on vessels (usually the painters). Artists would train apprentices within studio workshops. One workshop would typically specialize in a color, pattern, or typical set of scenes. Using the potter’s wheel becomes standard. The body of the
vessel is formed on the rotating plate and handles are applied separately using wet clay called slip. Painting the final vessel was usually the work of a separate artist (the one who signs!) but sometimes potters were also painters themselves. Pigments and glaze are used. Black areas are a special kind of slip that would change color with oxygen to the kiln was blocked. Kilns had to reach over 1700 degrees!

    • Dipylon Krater

    One of the earliest examples of figure painting on kraters. Most earlier pottery only had geometric designs and no figures. Krater – jar from antiquity with a wide mouth, used for mixing wine and water. The Dipylon Krater’s rim is covered in the meander pattern. Depicts a mourning scene. The deceased is laid on on his funeral bier, surrounding by a chariot procession in his honor. This vessel is 5 ft. tall and was used as a grave marker and is signed by the artist Dipylon.

    Material: Terracotta

  • Date: 740 BCE

  • Location: Met

    • Vase in the form of a leg:

    • Material: Terracotta, slip painted

    • Date: 540 BCE

    • Location: Royal Ontario Museum

    • Hero and Centaur (Herakles and Nessos):

      Small bronze statues are the predominant surviving sculpture form in the Geometric Period. Depicts two figures who are fighting with each other. The man is likely the hero character Herakles and the centaur may represent Nessos, who has assaulted Herakles’ new bride. Composite figures with human and animal parts were popular in Egypt and Mesopotamia. Greece begins to do the same with their own mythological characters.

    • Material: Bronze

    • Date: 750-730 BCE

    • Location: Met

    • Mantiklos Apollo:

  • Small bronze statuette dedicated to Apollo by a man named Mantiklos. “Mantiklos dedicated me as the tithe to the far-shooting Lord of the Silver Bow; you, Apollo, might give some pleasing favor in return.” Does the figure represent Apollo? Mantiklos? Or neither? What was the left hand holding? Stylized neck and triangular body with a pinched waist.

  • Material: Bronze

    Location: Met

Kourus (Kouroi) statues:

Kourus – life size marble statues nude male of youth, forward-facing, typically depicted striding forward. Arms are usually at the sides with fists clenched. Used in funerary context as grave markers and as gods in sanctuaries. Carved on all four sides, so they could be viewed in the round. But they overall maintain the shape of the marble block. Archaic smile – a smile on a statue meant to indicate the statues represents a living person. Lack of this archaic smile typically meant the statue represents that deceased.

Snefru-nefer Standing:

Material: Painted limestone

Date: Dynasty 5

Location: Kunsthistorisches Museum

New York Kourus:

One of the earliest examples of life-size Greek statuary. This kourus is over 6 ft. tall. Originally stood over a grave in the rural landscape of Attica, used as a grave marker. Shares many of the traits with previous pieces in the Daedalic style – triangular head and torso, frontality, long hair making a backdrop behind the face.

Material: Marble

Date: 600 BCE

Location: Met

Calf Bearer:

Dedicated in the Athena Acropolis by a man named Rhonbos. It likely depicted Rhonbos as the calf-bearer. He wears a cloak but is still depicted in the nude. Use of the archaic smile to indicate that the man is alive and this was not a grave marker.

Material: Marble

Date: 560 BCE

Location: Acropolis Museum

Peplos Kore:

Named because she wears a garment similar to apeplos, a type of Greek dress typical of the time, cinched at the waist with a belt. She actually wears 4 different layered garments. Kore were “sister” statues to kourus, though they are a smaller object class and typically
represented goddesses. Her left hand is damaged – she would have originally held an object that would represent herivine attribute, thereby identifying her.

Material: Marble

Date: 530 BCE

Location: Acropolis Museum

Greek Architecture:

Earliest buildings don’t survive because they were made of mud and wood. During the Archaic Period, marble and limestone are used for most permanent structures such as temples, arenas, and public courts. Greeks begin to use sculpture to embellish and decorate their buildings. The sculpture because a part of the architecture – monumental building is used for storytelling and propaganda. Canonical Greek Temple – altar is placed outside of the temple, while inside the temple the cult statue of the associated deity would be placed inside at the center to receive offerings. Eventually includes columns on all sides of the temple. Almost all temples were placed on elevated hills.

Doric Order:

Develops on mainland Greece and is the primary form of architecture. Rests on a stylobate – the base platform of a temple. Capitals are flat and rounded. Generally heavier, larger building style. Plainly decorated but highly painted

Ionic Order:

Developed on the Aegean Islands and on WesternAsia minor, but there occasional exceptions on small temples. The Ionic Order was also frequently used in Athens. Rests on a stylobate – the base platform to a temple. Capitals are spiraled. Generally lighter and more delicate decorative elements. Heavily decorated, ornate, and began to include sculptures. Sometimes female figures replace the entire column.

Temple of Hera I:

Material: Limestone

Date: 550 BCE

Location: Paestum, Italy