Gardner’s Art Through the Ages,
13e
Chapter 5
Ancient Greece Review
1
The beginning of Greek art is found in painted pottery
The
Geometric period artist did not
and small scale sculpture.
confine his work to the threeArtists established different categories of shapes of
dimensional
medium alone. Greek
ceramic vessels- most important was the amphora - twoVase painting
theoil
handled
vase used to reflects
carry wine and
development
of figural
Around 800 BC, pottery began to move away from purely
representation
a two-dimensional
non-objective
designs -in
ornamental
figures.
format.
Figure 5.2, a krater,
Dipylon Vase was a grave monument - bottom has holes
illustrates
this offerings
evolution.
the
through
which liquid
filtered Again
down to the
dead
below- done in remembrance rather than to appease the
figures
on the body of the krater are
soul of the dead.
almost schematic in shape. The
important
factor in this depiction is
The vase functions as a grave marker depicting the
the narrative
thiswell
vase
shows.
funeral
procession ofvalue
an obviously
respected
individual.
The funeral of the individual is
shown
andofthe
mourners
are
The
magnitude
his funeral
procession
and the size of
the pot speaks to the wealth and position of the deceased
demonstrating
their grief by the
family in the community.
gestures of raised arms. Unlike the
Contains no reference to an afterlife
Egyptians, this is a straightforward
depiction
of ornamentation
a funeral; ofnothese
mythic
The
nature of the
early works
has led art historians to designate these as
creatures
are present.
GEOMETRIC. (all empty spaces are filled with circles
How has the human figure been
portrayed in this work?
and M-shaped ornament. No open spaces.)
Figure 5-2 Geometric krater, from the Dipylon
cemetery, Athens, Greece, ca. 740 BCE. 3’ 4
1/2” high. Metropolitan Museum of Art, New
York.
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Archaic Period - 6th C. BCE
•
•
In the Archaic period, the Greeks developed a monumental
stone sculpture for the representation of life-size, nude, young
men (kouroi) and life-size, clothed, young women (korai).
– The kouroi, which were evidently made to serve a
funerary purpose at a gravesite, emulate the frontal pose
of standard Egyptian statues, but, over the course of the
sixth century, are carved with increasingly more realistic
anatomy. Faces, however, retain the conventional
"Archaic smile.“
– Korai, shown wearing contemporary fashionable
clothing, evidently stood as votive offerings in temple
sanctuaries
Archaic Contextual Facts
–
–
–
–
–
First life-size stone statues in Greece - around 600 BCE
kouroi emulated the frontal poses of Egyptian statues
During 6 Century BCE Greek sculptors refined proportions and added
“Archaic smiles” to their faces
Andokides Painter invented red-figure vase painting around 530 BCE.
Euphronios and Euthymides experimented with foreshortening
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Juxtaposing the Lady of
How have the Egyptians
Auxerre (5.7) and the kouros
influenced Greek
together shows the continuing
Greek fascination for the
sculpture?
human body. Traditionally in
the Archaic period, the female The Archaic Period (6th C. BCE) saw
figure was depicted as clothed the human figure developing more
quickly and fluidly. Again the artist
and the male figure was
was fascinated with the male figure
and the representation of not only a
depicted as naked. Yet both
body, but also a body that has a
figures indicate the evolution naked
clearly defined musculature. A kouros
in the representation of human is a young male sometimes representing
anatomy. The Lady of Auxerre the god or a votive figure or a grave
marker. In figure 5.8, this young male
artist has made an attempt to is reminiscent of the work of Egypt. A
indicate her anatomy. Again comparison with the Old Kingdom
Dynasty IV figure of Menkaure and
comparing this figure to the
Khamerernebty (3.13) reveals a
Egyptian couple (3.13), the
similarity in representation. Both
Lady of Auxerre shows a more works show the male figures with their
arms clasped to their sides and striding
realistic handling of her
forward; the major departure for the
anatomy. The roundness of
Greek Archaic work is the presentation
her shoulders, cocked elbow, of the figure as naked. Also in the
kouros figure the arms are not part of
and hand to her breast suggest the marble but carved freely, unlike the
work.
Again
the emphasis
aFigure
more
handling Egyptian
Figure 5-7
Lady
of Auxerre,
ca. 650–is
3-13 comfortable
Menkaure and Khamerernebty(?),
on
theBCE.
natural
representation
of high.
the
from
Gizeh, Egypt,
Fourth Dynasty, ca. 2490–
625
Limestone,
2’ 1 1/2”
of figural
representation.
body.
2472 BCE. Graywacke, 4’ 6 1/2” high. Museum
of Fine Arts, Boston.
Louvre, Paris.
Figure 5-8 Kouros, ca. 600 BCE.
Marble, 6’ 1/2” high. Metropolitan
Museum of Art, New York.
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As already touched upon, the male figure or kouros
in the Archaic period took on a variety of
personas. The Kroisos figure c.530 BCE (5.10)
is a grave marker for the young man who died in
battle. Comparing this figure with the earlier
kouros, c.600 BCE (5.8) figure shows that in the
span of seventy years, figural representation has
undergone great strides in human figural
depiction. Even though the Kroisos is depicted
in the same manner, striding forward with arms
locked to his sides, the musculature is becoming
more realistic. Rounded hips, smaller head and
rounded cheeks demonstrate an increased
attention to naturalism.
Figure 5-10 Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4”
high. National Archaeological Museum, Athens.
5
Compare Doric and Ionic Orders
Figure 5-14 Elevations of the Doric and Ionic orders.
6
The Treasury of the Siphnians has
a unique porch. The typical
supporting columns have been
replaced with female figural
supports, caryatids. These
support elements had been
repeated later in the Erechtheion.
How did the Classical architectsculptor accommodate the role of
architectural support with the role
of figural sculpture?
The Classical architect-sculptor
successfully balanced the dual
and contradictory functions of
these female statue-columns by
having enough rigidity to suggest
the structural column and
enough flexibility to suggest a
living body. The role of
architectural support is
underscored by the vertical
flutelike drapery folds which
conceal the stiff, weight-bearing
legs.
-Greek treasuries were small buildings set up for the safe storage of votive
offerings.
-Caryatids (female sculpture that functions as a supporting column)
-Continuous sculptured frieze on all four sides of the building.
-North frieze represents the popular theme of gigantomachy
Figure 5-18 Reconstruction drawing of the Siphnian Treasury, Delphi, Greece, ca.
530 BCE (John Burge).
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BILINGUAL PAINTING
-New technique invented around 530
BCE by Andokides Painter (anonymous
painter who decorated pottery by
Andokides)
-Panels are copies of Exekias’ work
-The artist employed the same black
glaze but instead of using it to create
silhouettes of figures, the painter outlined
the figures and then colored the
background black.
-The artist reserved the red clay
for the figures themselves
-Interior details were then drawn
with a soft brush in place of a stiff
metal graver, giving the painter
much greater flexibility
-Artist could vary the
thickness of the lines
Figure 5-22 ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto,
Italy, ca. 525–520 BCE. Black-figure side (left) and red-figure side (right). 1’ 9” high. Museum of Fine Arts, Boston.
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Doryphoros (Spear Thrower),
POLYKEITOS
•Originally titled Canon
•Established Polykleitos’ canon of proportions, setting ideal
correlations among body parts
•Contrapposto
•Notice the harmony of opposites
This sculpture is the embodiment of Polykleitos’s vision of the ideal
statue of a nude male athlete and warrior. It epitomizes the
intellectual rigor of Classical statuary design.
The supporting leg’s function is echoed by the straight-hanging arm
to provide the figure’s right side with columnar stability needed to
anchor the left side’s dramatically flexed limbs. The tense and relaxed
limbs also oppose each other diagonally. The head turns to the right
and the hips slightly to the left, depicting motion without movement.
This sculpture gives a new animation to the body, as the Archaic
smile is no longer needed and the expression is now more serious.
This dynamic asymmetrical balance, this motion while at rest, and the
resulting harmony of opposites are the essence of the Polyleitan style
Figure 5-40 POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble
copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’
11” high. Museo Archeologico Nazionale, Naples.
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This Riace Warrior, like most Classical Greek statues, was sculpted in
bronze. Most Classical bronzes have not survived.
Much of the Classical Greek sculptures today are Roman marble copies.
The bronze can be cast and molded, while stone, a rigid structure,
partakes its natural shape upon the stone that is produced from it.
Bronze’s lightness and stability allow the perception of motion much
easier than does the marble sculptures of the past.
The weight shift is very pronounced, the head turns forcefully to the
right, his shoulders tilt, his hips swing, and his arms are free from the
body.
This demonstrates the new lost wax casting method of sculpture.
This statue is missing only the spear, shield and wreath that once
accompanied the figure.
The Riace Bronzes were discovered by accident by a diver off of the
coast of Italy. They were found near the top of the “toe” of Italy’s
“boot”.
Figure 5-35 Warrior, from the sea off Riace, Italy, ca. 460–450
BCE. Bronze, 6’ 6” high. Museo Archeologico Nazionale, Reggio
Calabria.
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ACROPOLIS
FACTS:
Established for the patron
Goddess Athena as early as
the Archaic period
(650-480 BC)
THREE MAJOR SITES:
PARTHENON
ERECHTHEION
TEMPLE of ATHENA
NIKE
The PARTHENON
Constructed by the order of Pericles to house
& honor Athena
Figure 5-44 IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena
Parthenos, looking southeast), Acropolis, Athens, Greece, 447–438 BCE.
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The
PARTHENON
The centerpiece of the sculptural program
of the Parthenon was the monumental
statue of Athena in the main cella of the
temple. The statue was made of gold and
ivory, and was approximately 38 feet tall.
Although no longer around, Ancient copies
and literary descriptions have allowed
scholars to produce fairly accurate
reconstructions. The one here is from the
Royal Ontario Museum in Toronto.
Figure 5-46 PHIDIAS, Athena Parthenos, in the
cella of the Parthenon, Acropolis, Athens, Greece,
ca. 438 BCE. Model of the lost chryselephantine
statue. Royal Ontario Museum, Toronto.
Basic layout of all of the FRIEZES on the Parthenon…
FRIEZES are decorative stone engravings that usually illustrate an event of
story… also known as RELIEFS.
Figure 5-45 Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after Andrew Stewart), 447–
432 BCE.
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The TEMPLE of
ATHENA NIKE
-Designed by Killikrates, who worked with Iktinos on
Nike means
"Victory"
Greek,
and Athena
the Parthenon
and
perhaps in
was
responsible
for the
was
worshiped
in
this
form,
as
goddess
of
Ionic elements of that Doric temple)
victory, on the Acropolis. Her temple was the
-Theearliest
temple Ionic
is amphiprostyle
with
four columns
on
temple on the
Acropolis.
Here the
east citizens
and westworshipped
sides
the goddess in hope of a
prosperous
in athe
long war fought
-Stands
on whatoutcome
used to be
Mycenaean
bastionon
near
land
and
sea
against
the
Spartans
and
their
the Propylaia and greets all visitors entering Athena’s
The Temple of Athena Nike was an
greatallies.
sanctuary.
expression of Athens' ambition to be the
- References
the victory
overinthe
leading Greek
city state
thePersians
Peloponnese.
-Part of the frieze is devoted to a representation
of the decisive battle at Marathon that turned the
tide against the Persians.
-Around the building at the bastion’s edge, was a
parapet decorated with exquisite reliefs.
-Nikes image is repeated dozens of times including a
shows her adjusting her sandal.
Artist’s
relief that
Rendering of what the
Temple of Athena Nike
probably looked like in it’s
prime.
Figure 5-55 KALLIKRATES, Temple of Athena Nike (looking southwest), Acropolis, Athens, Greece, ca.
427–424 BCE.
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CLASSICAL GREECE HUMAN
BODY IN ART
-An awkward posture that the
artist rendered elegant and
graceful
-Carries the style of the
Parthenon pediments and created
a figure whose garments cling so
tightly to the body they seem
almost transparent
-Revels simple beauty of
female body
-Drapery folds form linear
patterns of abstract design
- Work personifies victory
Figure 5-56 Nike adjusting her sandal, from the south side of
the parapet of the Temple of Athena Nike, Acropolis, Athens,
Greece, ca. 410 BCE. Marble, 3’ 6” high. Acropolis Museum,
Athens.
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The
ERECHTHEION
Built
between
421-406
BC, the
-In honored
Athena
and housed
the ancient
Erechtheion
is
situated
on
the
most
wooden image of the goddess that was
the goal of
sacred
the
Panathenaic
site of the
Festival
Acropolis.
process.It is said to
be
where
Poseidon left
trident
-Has
an asymmetrical
planhis
in the
Ionicmarks
order.
in a rock, and Athena's olive tree
-Unique for a Greek temple and the
sprouted,
in their battle for possession
antithesis of the simple and harmoniously
of thebalance
city. Named
after Erechtheus,
plan of the Doric Parthenon.
one of the mythical kings of Athens,
-Irregular
reflected to
theboth
need to
the temple
wasform
a sanctuary
incorporate the tomb of Kekrops and other
Athena and Poseidon.
pre-existing shrines, the trident mark and
The south
is the
of thecomplex
Caryatids,
the olive
tree Porch
into a single
the maiden statues which the originals
-Architect also had to struggle with uneven
are now
in the Acropolis Museum. (One
terrain.
of the 6 is still part of the Lord Elgin
-As a result
marbles collection
in the
thestructure
British has four
Museum.) sides with very different character,
and each side rests on a different
ground level
CARYATIDS
(Greek columns shaped like women… In
Egypt, they had similar columns of MEN
called ATLANTIDS.
These ladies are seen on the Porch of the
Maidens at the Erechtheion.)
COMPARE/CONTRAST
Apoxyomenos, LYSIPPOS
-Established a different canon of
proportions from that of
Polykleitos
- Bodies more slender
- Heads are roughly 1/8th of
the body height rather than
1/7th
-Breaks down the dominance of
the frontal view and encourages the
viewer to look from multiple sides
Figure 5-65 LYSIPPOS, Apoxyomenos (Scraper). Roman marble
copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei
Vaticani, Rome.
Figure 5-40 POLYKLEITOS,
Doryphoros (Spear Bearer).
Figure 5-65
LYSIPPOS,
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Apoxyomenos (Scraper).
-Larger than life size statue
-More overtly sexual than the Knidian Aphrodite
-Goddess has slipping garment to tease the
spectator
-Left hand hold the apple Paris awarded her when
she was judged most beautiful
Much more sensual than the nude Venus by
Praxiteles enven though she is more modestly
covered.
One of her hands held the drapery to keep it from
“falling”, designed to “tease” the spectator
Figure 5-83 ALEXANDROS OF ANTIOCH-ON-THE-MEANDER,
Aphrodite (Venus de Milo), from Melos, Greece, ca. 150–125 BCE. Marble,
6’ 7” high. Louvre, Paris.
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-Hellenistic style lived on in
Rome
-Statue of sea serpents attacking
Laoccon and his two sons
-The three Trojans struggle to
free themselves from the grip of
the serpent
-Laocoön and his two sons
writhe and struggle, caught in
the grip of the serpents that
wind among their limbs.
-The father's large size,
powerful musculature, and wild
hair and beard contrast with his
smaller, smoother-limbed sons.
Notice the torment & anguish on
their faces
Figure 5-88 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome,
Italy, early first century CE Marble, 7’ 10 1/2” high. Musei Vaticani, Rome.
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