Greek Art
After 1200 BC the Mycenaean civilization is replaced by another as yet un-identified
culture. Perhaps the Dorians, from the north and/or perhaps by the Ionians, from Asia
Minor. The period of time following the end of the Mycenaean period (between1200 - 800) is
sometimes referred to as the "Dark Age of Greece".
Important Elements of Greek Culture


Greece, or Helles as the Greeks knew their country, was a region of locally ruled
citystates. This was fostered by its mountainous landscape.
Humanism - The Greeks saw humanity as the height in perfection of creation and nature
as a perfectly ordered system.
"Man is the measure of all things" - Protagoras




This was the first culture with emphasis on the individual and on ordinary men - not only
gods or kings
Focus on life on Earth now - not on the afterlife
Greeks gods, unlike Mesopotamian or Egyptian gods had human form as well as human
strengths and weaknesses.
o Their only real difference was the fact that they were immortal.
Although there was a form of democracy practiced in many of the Greek states all of the
rulers were upper class men who modeled themselves after Homeric heroes
o Although women were little more than domestic slaves
GEOMETRIC PERIOD 1000 - 700BC
Called the "Geometric Period" because work is very abstract and very clearly ordered.
Homer is supposed to have lived during the Geometric period and Homeric (i.e. stories from
the Odyssey and the Illiad) themes become important themes for sculpture and painting.
Dipylon Krater
detail of central scene
Dipylon Krater
8th c. 41" h
Dipylon is a cemetery outside Athens.
Pottery such as these pieces found in the
cemetery served as grave markers. The
scenes on both vesels depict funerals. The
animals beneath the funerary would have been
for a sacrifice. They had holes in the bottom
and when placed over a grave allowed
offerings of oil or wine to seep through into the
ground.
The Figures in vase paintings are abstract and
conceptual, represented as simplified
geometric shapes.
The composition is organized in registers.
The soldiers in the scene are represented
as the shield they carried, their symbolic
identity.
Dipylon Vase
The majority of the surface of the vessel 8th c. BC 61" h
is decorated with abstract linear designs.
Pottery forms you should be familiar
with:
AMPHORA a storage vessel Dipylon
Amphora
KRATER a vessel for mixing wine and
water
KYLIX a round shallow drinking cup
ORIENTALIZING PERIOD 700 - 640 BC
There is a period where Greek art becomes
"orientalized", or influenced by eastern
(Mesopotamian and Anatolian) art and
design. These design influences traveled via
the trade routes from Asia Minor, including
Persia, and Egypt. The orderliness of the
Geometric Period becomes more dynamic,
shapes become more expressive. The figures
and animals fill the spaces along with other
decorative elements.
These ceramic pieces make use of ornamental
motifs based on plant and flower forms and
feature oriental, fantastic monsters and more
realistic animals.
Corinthian Amphora
c. 625 - 600 BC - 14" h.
Corinthian Jug
c. 580 BC
Animal figures and other forms are very fluid curvilinear as opposed to rectilinear as are
they are on the Geometric Period pieces we
looked at.
CorinthianAlabastron
Note how dynamic the shapes and figures are
on these pieces and how they fill the spaces
around them.
Polyphemos Amphora, 675 - 650 BCE, terracotta, 4'8" h.
click on the image for a detail
On the neck of this amphora a scene from the Odyssey where Odysseus blinds the cyclops,
Polyphemos, is described. On the body of the vase the story of Perseus slaying Medusa is
described. Note, in the image on the left, how Perseus' body is described as a shield, an
imortant part of the story and similar to the treatment of the soldiers on the Geometric Style
ceramics .
ARCHAIC PERIOD 600 - 490 BC
Black Figure Pottery
Dionysus in a Sailboat
by Ezekias 550 - 525
Ezekias was a master of the Black Figure technique
who's style was widely copied by other
painters. This vessel is a kylix, a drinking vessel,
it's signed by the artist.
It illustrates the story of the abduction of Dionysus
by pirates. He caused vines to grow all over the
ship. The pirates got scared and jumped
overboard. Dionysus then turned them all into
dolphins. (this is a punishment?)
Notice how well Ezekias has utilized the round
space of the vessel.
Ajax and Achilles Play Drafts
An amphora painted by Ezekias
illustrating a story from the Iliad.
In addition, designs may be incised to create details - curves of the boat, sail, dolphins.
Herakles and the Nemean Lion
Amphora by Psiax c. 525
Red Figure Pottery
Ajax and Achilles Playing a Game
Herakles and the Nemean Lion - detail
Here in the detail of the painting you can
see how the surface is etched to emphasize
line and shape
bilingual amphora painted by the Andokides Painter
c. 525 - 520 BCE
Around 530 BCE the Red Figure technique is developed by an anonymous painter known as
the Andokides Painter. So called because he painted the pots of the potter whose name was
Andokides.
The process is essentially the reverse of the Black Figure technique.
the difference is that in the Red Figure technique the background is painted with engobe and
the figures are left the color of the pot. Details on the figures were drawn or painted on with
engobe.
detail of the right figure in the amphora comparing the two techniques
Here on this amphora the Andokides Painter has created a comparison between the two
techniques. The panel on one side is painted in the Red Figure technique, on the other side
the panel is painted with the Black Figure technique. Perhaps this was an
experiment. Vessels of this type are referred to as "bilingual".
Revelers
Euthymides c. 510 BCE
"Revelers" is a popular theme of the time. Not
a profound literary or moral story just a story
of three guys partying.
The figures are lively and animated in complex
poses. Euthymides as created a very
believable three-dimensional space through
his overlapping of their arms and legs and
foreshortening. Notice how the center figure
twists and turns.
They are actually pretty funny as they prance
around each other. Note that the figure on the
left is using a krater to drink from! Kraters
were large and designed for mixing wine with
water in - not for drinking from!
There was a lot of pride taken in painting these beautiful vessels and there was good natured, if
not very real, competition between workshops. On this amphora Euthymides signed it
"Euthymides painted me as never Euphronios could" !
Small Amphora for Perfume c. 420 - 410 BCE
ARCHAIC SCULPTURE
N.Y. Kouros
c. 600 BCE, marble, 6' h.
KOUROS - Greek for youth
Early kouros figures have the rigidity and formality of Egyptian
figures.
Compare with Menkure and Khafre
The New York Kouros (so called because it is currently in the
collection of the Metropolitan Museum of art in New York) has
a slim waist and broad shoulders. He is much more
energetic than the Egyptian figures.
Khafre is much more block-like, more bound by the
stone, Koroi (plural) are freestanding.
Kouros figures were grave monuments, replacing (or
supplementing) the large vessels of the Geometric Period.
Calf Bearer (moscophorous)
c. 560 BCE, marble, 5'5" h.
In contrast to the kouros figures this is an
older, respectable, gentleman - symbolized
by his beard.
He is bringing a calf to the temple, or altar, to
make a sacrifice - So he's clothed.
Kroisos Kouros
c. 530, marble, 6' 4" h
Kouros figures may appear stiff, but, they illustrate the Greek
interest in realism and accurate observation.
They were originally painted with encaustic (pigment in wax)
on the clothing, hair, lips, eyes.
One characteristic of figurative sculpture of the Archaic Period
is their peculiar smile. This is referred to as the "archaic
smile".
Kouros figures were once believed to be figures of the god
Apollo. As they were placed
to mark the tombs of warriors the may represent that individual,
or an idealized warrior.
Certainly, they portray what was (is?) considered to be an
ideal of male strength and beauty.
Peplos Kore
c. 530 BCE, marble, 4' h.
Detail
"Kore" - maiden
The female figure presented a slightly different
challenge. They are all clothed.
How does the sculptor relate the clothing to the figure
underneath?
Her left arm originally extended from beneath the
fabric and may have held a symbol of her dedication
to Athena. She may have been a votive figure in the
sacred precinct of Athena on the acropolis in Athens.
Or, she may actually have represented Athena
herself.
This kore wears a "peplos", hence her name.
Note the swelling forms of her figure and how the
artist describes the figure beneath the fabric in these
two pieces.
Kore, too, were originally painted.
Kore
c. 510 BCE, marble, 21.5" h.
This lovely Kore wears a chiton a fashionable
garment. Note the intricate carving of the
surface details.
Her right arm also used to reach out, perhaps
holding an offering.
She has very naturalistic features - note the
intricate carving of her hair.
Notice, too, the archaic smile of the two kore.
GREEK ARCHITECTURE DURING THE ARCHAIC PERIOD
Temple of Apollo
Corinth, c.550 BCE
The Temple of Apollo at Corinth is an
Archaic period Doric temple.
The columns and elements of the
architrave that you see at the left are
part of the little that remains of the
temple. Originally the temple would
have been stuccoed and painted.
The Temple of Hera at the Greek colony at Paestum is an excellent example of an Archaic
Doric temple that still has a large amount of the structure standing. The temple was built around
550 BCE. You can see from the drawing that it is quite a large building. Notice the massive
quality of the columns - and how they will become more slender over time. Notice, too, how
large and saucer-like the column capitals are.
Hera is the wife of Zeus and an important goddess for women.
The earliest Greek temples were made of wood
When they began building them in stone the features and structure of the wooden buildings
were translated into stone - limestone or marble (dry laid, built without mortar)
They were roofed with timbers and tile
The floor plan is based upon the plan of megarons
Architects developed 3 Orders of Architecture as a way to establish a canonical system that
emphasized unity and harmony.
The three Orders of Greek Architecture are:



The Doric Order
The Ionic Order
The Corinthian Order
Each of the 3 orders is defined by established rules for composition and proportion that can be
seen incorporated in the following elements of the buildings:
The stylobate, the platform the temple sits on
The columns, the posts of the post and lintel structure
The entablature, made up of the following elements:
architrave ( the lintels), frieze, cornices and the pediment
The Doric Order is easily identified because of the simple, conical column capitals and the
triglyphs and metopes (tri glif, met o pee).
Although the Parthenon (below) is a High Classical Doric temple let's use it to identify some of
these elements on the
building
This drawing illustrates the basic components of the architectural orders
The pediment was typically filled with sculpture that related to the deity the temple was
dedicated to
The order refers only to the elevation, not to the plan
The Doric order is the style of mainland Greece
- It was considered to be massive and masculine
The Ionic order originated in Ionia (Greek colonies in SW Turkey)
- It was considered to be slender and feminine
The Corinthian order originated in Corinth
First used in the 5th c. but not widely used until Roman times
- The Corinthian order was considered to be the most perfectly harmonious order of the three
Temple of Hera I, Paestum, plan
Temple of Hera I, Paestum
EARLY CLASSICAL 490 - 450 BCE
This is the period of the war with Persia, a time of great victories for Athens and it's rise to
prominence in the Greek world.
From 499 - 494 Athens aided the Ionian colonies against the Persian invaders. This infuriated
Darius and he sought retribution, as well as further territory for Persia. In 490 BCE Darius
invaded Greece leading to the famous battle of Marathon where 10,000 Athenians and allies
inflicted 6,400 Persian casualties out of the 26,000 strong Persian army while losing only 192 of
their men.
Darius' son Xerxes tries again and in 480 sacked Athens. The Persians were finally ejected
from the area following the equally famous naval battle of Salamis in 479 where a similarly
outnumbered Athenian navy managed through superior tactics to destroy the Persian fleet as
Xerxes looked on.
Protagoras "Man is the measure of all things"
The philosopher and teacher Socrates stated that artists should strive to depict the soul of a
figure not only it's physical form and that a work of arts value and beauty came from it's accuracy
in imitating nature.
THE SEVERE STYLE (or Transitional Style, depending upon the writer) is a phrase used to
describe certain sculpture of the Early Classical Period. This style is marked by clarity of form,
solidity of the pose and the severe expression of the faces of these works.
Kritios Boy
c. 480 BCE, marble, 34" h
Thought to have been carved by Kritios and
similar to another sculpture attributed to him is
an important, pivotal piece from Archaic style
to the more fluid, integrated style of the
Classical Period.
He has a somber, unsmiling face (severe)
He stands at rest, with his weight on one leg
illustrating the sculptors knowledge of weight
shift and how the human body responds to
movement and the shifting of weight.
The term used to describe this type of weight shift is contrapposto from the Latin positus positioned contra - against
Note the following indications of this description
- His engaged hip, the one that bears the weight, is raised
-His body shifts around the flexible spine which also serves as an axis for the motion
To add further animation to the figure the lower half of his body turns in an opposite direction of
upper half of his body.
In kouros figures the smile animated the figure. Here motion and animation is created from
within the body.
Riace Warriors
c. 460-450 BCE, bronze, 6'6" h.
This pair of bronze sculptures was found in the
Riace Marina (hence their name) at the resort
town of Calabria in the boot of Italy.
They were found underwater by a scuba
diver. They were probably part of the cargo of
a ship carrying sculpture from Greece to
Rome. Following the incorporation of Greece
into the Roman Empire in 146 BCE large
numbers of Greek statuary was imported by
Romans who greatly admired all things
Greek. These imported works were
commonly copied in marble by workshops for
other patrons.
The Riace Warriors as they are known show pronounced weight shift and fluid integration of the
parts of their bodies. They were produced by the lost wax casting process.
Their eyes are inlayed with ivory and onyx, their teeth are of silver and their nipples and lips are
copper. These details are added to give them a more lifelike appearance.
These figures show the Greek artist's interest in
two potentially conflicting modes of description idealism and naturalism. While the description
of the figure, his proportion, weight shift, facial
features, etc. is very accurate, certainly, his
physique is idealized to some extent.
This illustrates the Greek emphasis on accuracy
and observation of the world around them and
also their belief in humanity expressing the
highest ideals of the gods creation.
During the Early Classical period bronze becomes a highly favored sculptural material for
several reasons. It is very attractive and as it ages it becomes more beautiful. It's very strong
and lighter than solid marble because the pieces are cast and hollow. Bronze is also very
durable for outside sculpture, as it oxidizes it creates a patina the eventually seals and protects
the interior of the metal.
To cast bronze and other metals the lost-wax casting process is used.
The Charioteer of Delphi
c. 470 BCE, bronze, 5' 11" high
This chariot driver was originally part of a group that
included the horses, the chariot and the groom. It was
a memorial commemorating victory in a chariot race by
King Polyzalos of Sicily (a despot) who owned the horses.
Note how the vertical folds of his robe echo the vertical
quality of the figure.
He looks calm and almost meditative, reflecting on his
victory. Again, note the severity of his facial expression and
the sculptor's skill in describing it.
Discobolus
c. 450 BCE, 5'1" h.
Roman marble copy after Myron
This is a Roman marble copy of an original Greek
bronze by Myron.
Bronze was the most desirable material because of its
strength and beauty, but costly.
Myron's Discobolus illustrates controlled tension and
potential energy, but it is limited to one plane, there is
little depth to it.
A carefully composed study of frozen motion.
Note how the composition is made up of a series of
interlocking arcs.
Since this is a marble copy, there wouldn't have been
a tree trunk in the original!
Poseidon or Zeus
c. 460 BCE, bronze, 6'11" h.
Most surviving bronzes are from shipwrecks
(on way to Rome) as was this one.
The actual identity of the figure would be
described by the projectile he originally held. If
it were Zeus he would have held a thunder
bolt, or a trident if it were Poseidon.
Like the Discobolus he is captured in a
moment of frozen motion, his arms fully
outstretched, his weight on his left foot,
preparing to shift it back to his right.
Doryphorus (Spear Bearer)
c. 450 BCE, marble, 6'11" h.
Roman copy after Polykleitos
Original title of the piece was "CANON".
Polykleitos wrote a treatise "The Canon System of
Representing the Human Body".
Polykleitos described how beauty could be described
within a mathematical model. This would be the
sculptural equivalent of the use of mathematical
proportions in architecture. Both concepts were based
upon musical experiments of Pythagoras
(Pythagorean Theorem) with musical intervals. He
was trying to describe a mathematical structure in
nature.
Polykleitos strove to integrate these mathematical
principles in his description of the human (male) form
that Canon (Doryphorus) represents.
This sculpture may be seen as the culmination of the evolution from Archaic Kouros figures
through Early Classical Severe Style.
The body is arranged in a set of balancing forces and diagonal tension
- straight leg/arm against bent leg/arm
- head turns right - body turns left.
This gives the figure a very dynamic quality in spite of it's restful pose.
Early Classical Architecture
Temple of Zeus
Olympia, 465-457 BCE
Here in this reconstruction drawing of
the facade of the Temple of Zeus at
Olympia you can see how the
proportion of the Doric order is
becoming more refined. The columns
are noticeably more slender than
those of the Temple of Hera I at
Paestum.
You can also nicely see the rhythm
and repetition created by the
triglyphs and metopes on the frieze.
Cross section view of the Temple of Zeus showing the colossal statue
Of Zeus that was known as one of the 7 Wonders of the Ancient World.
Apollo with Lapith and Centaur
From the west pediment of the Temple of Zeus
at Olympia. (the Lapith has lost his head and
arms and stands between the Centaur and
Apollo)
The story of the "Battle Between the Lapiths
and Centaurs" is an important allegorical story
that is a popular subject throughout Greek art
that presents the conflict between reason and
order, and uncontolled emotion.
Here, Apollo represents reason and the
intellect as he subdues a Centaur. Centaurs
represent humanity's less desireable qualities violence, uncontrolled emotion and lack of
self-control. The centaur's more emotional,
less controlled nature is reflected in his angular
pose and contorted face.
Apollo, on the other hand, stands straight and
forthright in geometric clarity.
Truly the essence of classical composition.
Sculpture and Architecture of the High Classical Period
(450 - 400 BC)
The Athenian Acropolis
The Athenian Acropolis was the religious center of the city as well as a major source of civic
pride. It is the home of several temples and shrines in addition to personal monuments erected
by citizens.
We will look at the three major temples on the acropolis at Athens, the Parthenon, the
Erechtheion and the Temple of Athena Nike.
The Parthenon, the large Doric temple
just right of center in this view, was
designed by Iktinos and Kallikrates
and built between 448 and 432 BC to
hold the cult statue of Athena sculpted
by Phidias who also designed the rest
of the sculptural program on the
Parthenon.
Cult Statue of Athena Parthenon
Athena is a virgin, warrior goddess and
daughter of Zeus. She is the goddess of
wisdom and the Parthenon is dedicated to her.
This is a model reconstruction of the cult statue
that would have been housed in the cella of the
parthenon. The original was made of gold and
ivory and was approximately 38' tall.
The statue makes many allusions to the recent
victories over Persia including the small statue
of Athena Nike (her persona of victory) she
held in her right hand.
Parthenon
Ictinus & Kallikrates 448 - 432
The Parthenon is an excellent example of post and lintel construction.
The column capitals provide a broad base to transfer the weight of the
entablature to the column.
In this reconstruction model you can
get a sense of what the Parthenon
looked like when it was new.
Note that it was painted - a very
different type of image than the one
we have now of the unfinished
marble. The roof was terra cotta tile.
Harmony, Scale and Proportion
The Parthenon is considered to be the most harmonious embodiment of the Doric Order
This is attributed to the use of recurring mathematical ratios
- the ratio of 4:9 occurs throughout
In earlier Archaic temples, such as the Temple of Hera I at Paestum (c. 550 BCE) the stylobate
had a proportion of 1:2
Later Classical temples had a proportion of 4:9 approximating the Golden Proportion of 5:8.
In this cutaway sectional drawing
you can see the relationship of the
inner, Ionic frieze and the outer
Doric frieze.
Notice, too, the sculpture of the 3
Goddesses in the lower corner of
the pediment.
Three Goddesses (Hestia, Dione and Aphrodite)
Originally located in the right hand corner of the east pediment. The composition of the figures
allows them to fit into the acute angle. The figures flow together and are very nicely unified.
They illustrate a new development of the high classical period in describing the female figure the
so-called Wet drapery style. The flowing fabric alternates between revealing and concealing
the figure beneath. On portions of the figures it appears to cling to the figure as if wet.
These pieces of sculpture placed in the pediments are in the round, not relief.
The Erechtheion
The Erechtheion, 421- 405
The Erechtheion is a large complex
Ionic building named after the
legendary king of Athens - Erechtheus.
It is a composite shrine built on the site
of several previous shrines
- the uneven terrain of the site leads to
an unusual, innovative plan
It sit on the site of the contest between
Athena and Poseidon for the dominion
of Athens.
Porch of the Maidens
The Temple of Athena Nike
Temple of Athena Nike 427 - 424 BC
A small, delicate building dedicated to Athena. In her persona of Athena Nike she represents
victory.
The Ionic order didn't come into use until the Classical Period
It was considered more delicate and "feminine"
Nike Adjusting Her Sandal
c. 410 BC, marble, 3'6" h.
From the balustrade (railing) of the Temple of
Athena Nike
Is she removing her sandal because she's
about to step onto sacred ground ?
She has wings, carved in relief, which help her
balance while performing this awkward task.
Here the wet drapery technique is almost a
virtuoso demonstration of carving skill.
It reveals the structure of the body of the
young woman beneath it and, at the same
time, it has a distinctive pattern of folds that
create a strong pattern of light and shadow
that play across the figure and the surface of
the sculpture.
LATE CLASSICAL PERIOD (400 - 300 BC)
Athenian abuses of the Delian League lead to the Peloponnesian War
between Athens and several of the other Greek city states. It lasted from 431 404 BCE. It left Athens in defeat and all of Greece spiritually, politically and
economically exhausted.
The strife of the war and its effects had a profound influence on the art of the
4th century. Greek artists began to focus more on the individuality of human
beings and less and less on idealizing them.
Hermes and Dionysus
c. 340 BC, marble, 7'1 h
Found in the Temple of Hera at Olympia
Once believed to be an original by Praxiteles but
now thought to be by a student.
The work of Praxiteles, one of the masters of the
4th c., illustrates the new move to a more
humanistic depiction of the figure.
Praxiteles' style emphasizes fluidity of form and the
sensuousness of flesh
- The curve of Hermes' body is exaggerated - the 'S'
curve is a common feature of many of Praxiteles'
sculptures
- support for the figure is incorporated into the
piece (not an artifact of the copying)
- Hermes relaxes against it
- His musculature is not as emphasized - softer and more sensuous
- proportion is more elongated - compare to Polykleitos' Doryphorus
Apollo Belvedere
c. 330 BC, marble, 7'4 h.
Roman copy - displayed in the Belvedere Court
of the Vatican, once believed to be the highest
achievement of Greek sculpture.
He was shooting an arrow at a giant python from
an episode in the story of the battle between the
Gods and the Giants.
THE HELLENISTIC PERIOD 323 - 31 BC
The Hellenistic period is a time of broad expansion of the Greek sphere of
influence. It begins with the death of Alexander the Great and ends with the
defeat of Mark Antony and Cleopatra (who was a Greek queen ruling in Egypt)
at the the Battle of Actium by Augustus.
In 338 BCE all of Greece comes under the control of Phillip of Macedon. And
two years later, in 336, he is assassinated.
His son Alexander succeeds him and in a period of 10 years created an empire
that extended all the way to India in the east. His defeat of the Persian Empire
is the final revenge for Persia's attacks against Greece in the 5th century.
As a result of his broad expansion of the Greek world the Greek vision of the
world expands. Centers of culture are no longer centralized on the Greek
mainland. Antioch in Syria, Alexandria in Egypt, and Pergammon in Asia
Minor become major centers of the arts, culture, education and government.
An international Greek culture tied together the far flung elements of the
empire.
There is greater exposure to Near Eastern concepts.
Following Alexander's death there is much chaos and upheaval and the
Romans are a growing threat.
The Romans absorb the Greek empire beginning with the Greek mainland in
146 BC.
Dying Gaul 230 BC,
36" h.
Roman marble copy of a Greek bronze original
Art of the Hellenistic period is very dramatic and theatrical.
Sculpture becomes very expressive and emotionally charged.
Here the agony of a painful death is expressed in the figure of the fallen warrior
whose blood flows from the wound in his chest. This fallen warrior was part of
a sculptural group at Pergamon. The sculptural group celebrated the defeat of
the Gauls who were marauding around the eastern Mediterranean and Asia
Minor until defeated by Atalos I, king of Pergamon.
Generally, this expression of suffering may reflect the changing of the Greek
world, from that of a very orderly one of Greek origin to one of a broader world
and its (barbaric) influences.
Nike of Samothrace
c. 190 BC, marble, 10'9" h
Samothrace is a northern island of Aegean
This is a monument to the victories of the navy
of Rhodes over the Syrians
Athena Nike is shown alighting on the prow of
a war galley.
She is still partially airborne - just about to
land.
It has a real a sense of wind and motion
- her forward motion creates an active
relationship with the wind as she flies into it.
Her garment is pressed tautly around her by
the wind. It reveals the dynamic form of her
figure beneath it.
Altar of Zeus at Pergamon
c. 175 BC, frieze 7'7" h
Pergammon was a wealthy city and one of the Hellenistic centers of culture
and power. The altar was built by Attalus to commemorate his father's (Attalus
I) victories against the invasion attempted by the Gauls in Asia Minor after
they had invaded and sacked other parts of the Greek world. Atlas is
described as "saving the Greek world".
Athena and Alkyoneus fr. Altar of
Zeus at Pergamon
The victory is represented as a
mythological allegory by a scene from
the battle between the Gods and the
Giants. The scene of Athena battling
with the Giant, Alkyoneus is one
scene from the story. The analogy
between Attalus and the Olympian
gods gives his victories and the
related human suffering a grander
context - relating the Greeks to the
Olympian Gods and the Gauls to the
Giants
- it also ties his father with the gods
The frieze is very ornate - baroque dramatic
Laocoon
1st c. BC, 8' h
click on the image for a larger scale view
Carved from one piece of marble
Again, there is reference to the suffering and
changing Greek world and the almost
melodramatic style of Hellenistic sculpture.
(remember that the Greeks invented drama)
Laocoon was a Trojan priest who warned
about the wooden horse sent by the Greeks.
Poseidon, who had sided with the Greeks in
the Trojan War sent the giant serpents.
- not heroic, exaggerated/anguished
expressions
Laocoon was excavated in Rome in 1506 Michelangelo witnessed the excavation.