Greek Art: The Classical Period

Greek Art Part Two: Classical Period

Introduction

• This lecture focuses on the Classical period of Greek art, which is the most influential and copied period.
• The Classical period is divided into three subsections: Early Classical, High Classical, and Late Classical.
• This period is also referred to as the "Age of Confidence."

Historical Context: Age of Confidence

• Greece was not a united country but a collection of city-states like Athens and Sparta, each with its own government and military.
• In the 5th century BC, the Greek city-states faced the Persian Empire, ruled by Xerxes I, which sought to annex them, especially Athens.
• The Battle of Marathon (490 BC) was a pivotal moment when the united Greek city-states defeated the Persian army in a surprise attack.
• This victory boosted Greek confidence in their way of life and culture, leading them to believe their values were superior.

Reasons for Greek Victory

• Hubris vs. Sophrosyne: The Greeks believed the Persians exhibited excessive pride (hubris), which led to their downfall. The Greeks, on the other hand, demonstrated sophrosyne (restraint), controlling their emotions and pride.
• Tyranny vs. Democracy: The Persians were ruled by a tyrant (Xerxes I), while the Greeks had a democracy. They believed democracy was superior to tyranny.
• Emotional Control: The Greeks believed they won because they demonstrated emotional control, while the Persians were too emotional and rageful.

Early Classical Period

• The Early Classical period marks the beginning of the "Age of Confidence."
• It showcases the development of the human figure in art and the virtue of self-restraint (sophrosyne).

Kritios Boy (c. 480 BCE)

• Found on the Acropolis in Athens, likely a tribute to an athlete who won in the Athenian religious games. It stands approximately three feet tall.
• Comparison to New York Kouros:
  Hairstyles: Shift from braids to a curly bowl cut.
  Realism: Greater realism in the depiction of muscles and proportions.
  Stance: The Kritios Boy introduces asymmetry with a bent knee and uneven hips, reflecting an understanding of human movement. This asymmetry is also visible in the buttocks.
• ${\text{Asymmetry}}$: One hip is higher than the other and one butts cheek is higher than the other.
• This demonstrates the Greeks' focus on recreating realistic human movement in sculpture.
• Sophrosyne: The Kritios Boy embodies sophrosyne through the lack of expression on his face, indicating emotional restraint even as a victorious athlete.

Charioteer of Delphi (c. 470 BCE)

• A bronze statue found in Delphi, unique due to its material and the fact that the athlete is clothed.
• Bronze as Medium: It is an additive process where you make a mold, and then you take molten bronze and pour it in the mold. If the process is messed up, you have to start all over.
• It was originally part of a larger sculptural group including a chariot and horses. The athlete wears the dress customary of his sport to protect him from falls.
• Sophrosyne: The charioteer's face is expressionless, despite likely being depicted during a victory lap. His feet and face are also facing opposite which suggests he isn't in the race.
  This illustrates the importance of emotional control, even in moments of triumph.

High Classical Period

• The High Classical period (c. 450-400 BCE) is considered the pinnacle of Greek art, achieving the goals set out earlier.
• It is a watershed moment that has inspired subsequent art movements.

Doryphoros (Spear Bearer) by Polykleitos (c. 450-440 BCE)

• Polykleitos was a renowned artist who also wrote about his work.

• The original was bronze, but the statue is known from Roman marble copies.

• It embodies the ideal male figure, with well-developed muscles and accurate proportions. It stands at approximately six feet tall.

• Contrapposto: Polykleitos perfects the stance of the figure. He understands that when you move one part of your body other parts will correspond with that movement.

  • This stance is known as contrapposto, meaning counterpose or counterbalance.
  • It shows a shift of weight along the figure's spine. It is a natural pose where one knee bends, the other is straight, one hip is high, the other is low, and the shoulders are angled in the opposite direction.

• Polykleitos detailed the concept of asymmetry and weight shift in a treatise called "The Canon," which served as an illustration for this work. The artist understood that it's not a singular isolated movement.

• The Doryphoros and its introduction of contrapposto became highly influential in art history, inspiring artists for centuries. It's the first work to show this particular pose that becomes ionic within the history of art

The Parthenon (447-432 BCE)

• The Parthenon, located on the Acropolis in Athens, is considered the greatest of all Greek temples and a symbol of the city's glory.

• Historical Context: After the Persians burned down the Acropolis, Pericles, a military leader in Athens, initiated its rebuilding to elevate Athens as the leading city-state to show that they lacked too much hubris. He used funds from the Delian League's treasury (originally meant for defense) to finance the project.

• Architects: Ictinus and Callicrates

• Material: Entirely made of marble, emphasizing the wealth and importance of Athens.

• Size: Larger than typical Greek temples, with eight columns on the short sides and 17 on the long sides (8x17). Most Greek temples are six by 14 (6x14).

• Orders: Combines Doric (on the outside) and Ionic (inner porch) orders, symbolizing Athens' unique status.

• Sculptural Decorations: The Parthenon features elaborate sculptures depicting themes related to Athena and the glory of Athens.

  • Original would have been painted.
  • The pediments (triangular section above the frieze) showcase stories from Athena's myth, including her birth on one side and her contest with Poseidon on the other.
  • A 39-foot statue of Athena, made of gold and ivory, stood inside the temple. It has been lost to time.
  • The metopes (relief sculptures) display battles where the Greeks were victorious like the battle between the Greeks and Giants, Greeks and Centaurs, and Greeks and Amazons.

• Panathenaic Procession: The Ionic porch depicts the Panathenaic Procession, an annual parade where the citizens of Athens celebrated Athena and renewer her Peplos, which would be renewed annually.

• The procession highlights that gods are in the same place as the people. Also, the procession celebrates the people of Athens who are showcasing that this temple isn't just for the Goddess Athena, but the city itself.

• Architectural Refinements: The Parthenon incorporates intentional refinements to counteract optical illusions and create a sense of perfection for the human eye.

  • Horizontal lines (porch and roof) bow up slightly in the center and the roof and floor also bow up.
  • Columns are angled slightly inward, meeting about a mile above the temple if extended.

• This includes perfect straight horizontals and verticals. The refinement suggests that the refinements are taking into consideration how the people are seeing these buildings. It is reflecting that this isn't just a temple to Athena, but instead dedicated to the people of Athens.

• By compensating for these illusions, the architects aimed to make the building appear perfectly straight and harmonious to viewers.

• Humanism: The Parthenon embodies the Greek ideal of humanism.

Other Structures on the Acropolis

• Propylaea: The gateway to the Acropolis, marking the entrance to the sacred space.
• Erechtheion: A temple known for the Porch of the Maidens, featuring female figures (caryatids) as columns.
• This is like a metaphor of columns being like the human body where the base is the foot, the shaft is the body, and then the capital is the head.
• Temple of Athena Nike: A small Ionic temple dedicated to the goddess of victory, Athena Nike.

Conclusion

• The High Classical Period: Highest point of confidence, highest point of supremacy for the city of Athens. But after the high point, you can only go down.
• The lecture concludes by noting that while the Parthenon's structure can be seen in Greece, its sculptures are primarily located in the British Museum, having been taken by Lord Elgin in the 18th century.
• A full-scale model of the Parthenon, complete with sculptures, can be found in Nashville, Tennessee.