Greek 4
Complied by : Rani Pillai
Caryatids/ Irregular plan
Right: Nike from the Temple of
Athena Nike (Victory)
Below: 2 views of Temple of Athena
Nike (Athenian acropolis),
c. 427-424 BCE
Nike/ use of drapery to define
anatomy and movement of the figure
Grave stele of Hegeso
(Athens), c. 400 BCE,
marble
depictions of the
deceased
role of women in Greek
society
hierarchical proportion
Achilles Painter.
Warrior taking leave of his
wife (Ereteria), c. 440 BCE,
white-ground lekythos
Niobid Painter. Artemis
and Apollo slaying the
children of Niobe
(Orvieto), c. 450 BCE,
Attic red-figure calyx
krater
Examples of vases include red and
black figure vases from an earlier
period.
Late Classical
Praxiteles. Aphrodite of Knidos,
Roman copy of an original of c.
350-340 BCE, marble
appearance of the female nude
she alludes to modesty in her pose
increased focus on the individual
hydria (3 handled water pitcher)
In the early 20th century, artists were
beginning to experiment with the way the
figure was modeled. Do you see any
similarity between the figures?
Praxiteles, Aphrodite
of Knidos, c. 2nd
cent.BCE
Archipenko, Woman
Combing, Her Hair,
1915 ca. early 20th c.
Praxiteles’ Hermes and the
infant Dionysos from the
Temple of Hera (Olympia),
copy from an original of
c. 340 BCE, marble
prototype of the Good
Shepherd
sinuous, shallow S curve
tender human interactions
What does “prototype of the Good Shepherd” insinuate?
Ron Mueck’s sculptures
These are not the ideal figures
you see in figurative Greek
sculpture but rather a “hyperrealism” of the early 21st
century.
Wild Man - top
Big Man - bottom
Apollo Belvedere, Roman
copy of a Greek statue of the
mid-fourth century BCE,
marble
reaching into space
a Roman copy from the 2nd
century CE?
Why is the ability to
sculpt a figure reaching
into space so important?
Left: Lysippos. Apoxyomenos
(Scraper), Roman copy after a
bronze original of c. 330 BCE,
marble
Below: Athlete with strigil (the
scraper), amphora
Grave stele of a young
hunter (Ilissos River),
c. 330 BCE, marble
developing emotional
mood is evident
Lysippos. Farnese Herakles
(Weary Herakles), Roman
copy of a bronze original of
c. 320 BCE
Alexander the Great’s
favorite Sculptor
attributes of Herakles
rejection of stability and
balance
expression of dejection
Head of Alexander
the Great (Pella),
c. 200-150 BCE,
marble
Gnosis.
Stag Hunt
pebble mosaic
(Pella),
c. 300 BCE
Philoxenos of Eretria. Battle of Issus (Pompeii),
Roman copy of a Greek painting of c. 310 BCE,
mosaic
tesserae/ cast shadows (skiagraphia)
Philoxenes (artist) and Pliny (historian)
Alexander the Great and Darius III
Polykleitos the Younger. Greek theater
(Epidauros), c. 350 BCE
three days of drama
orchestra
theatron (stage area) open to the sky
skene (scenes or sets)
Greek theater in Athens
the chorus and
actors wearing
masks with the
focus on fate
(man in
conflict with
the gods)
Right: Choragic Monument of
Lysikrates (Athens), 334 BCE
Left: Polykleitos the Younger.
Corinthian capital from the tholos
at Epidauros, c. 350 BCE
Paionios of Ephesos and Daphnis of Miletos.
Temple of Apollo (Didyma, Turkey),
begun 313 BCE
Hellenistic period
Stoa of Attalos II (Athens), c. 150 BCE
Stoa/agora/colonnades of the stoa
Left: Ground floor of the Stoa of Attalos
Right: Pergamene capital from the upper floor