Hellenism
Figure 5-74 PAIONIOS OF EPHESOS and DAPHNIS OF MILETOS, Temple of Apollo, Didyma,
Turkey, begun 313 BCE. Restored view of facade (right) and plan (left).
•Hypaethrall: open to the sky….
•Long dark hallways through side doors…then you emerge into sunlight!
•This temple breaks the canon to create a dramatic experience for the viewer…
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Figure 5-75 Model of the city of Priene, Turkey, fourth
century BCE and later. Staatliche Museen, Berlin.
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Figure 5-76 Plan of House XXXII, Priene, Turkey,
fourth century BCE.
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Figure 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE
(Acropolis in the background).
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•Pergamon: a breakaway state in Asia Minor that became
A center for the arts.
• Here: the gigantomachy is again a metaphor for triumph over the
Barbaric Gauls.
•A new canon: deep undercut relief/theatrical/complex/breaking out of restrained
Space/the content is emotional and the viewer is asked to “empathize”
•Hellenism takes opposing forces and balances them in extreme compositions
Figure 5-78 Reconstructed west front of the Altar of Zeus,
from Pergamon, Turkey, ca. 175 BCE. Staatliche Museen,
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Berlin.
Figure 5-79 Athena battling Alkyoneos, detail of the
gigantomachy frieze, from the Altar of Zeus, Pergamon,
Turkey. Marble, approx. 7’ 6” high. Staatliche Museen, Berlin.
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Figure 5-86 Seated boxer,
from Rome, Italy, ca. 100–50
BCE. Bronze, approx. 4’ 2 1/2”
high. Museo Nazionale
.
Romano, Rome
Pathos to illicit
Empathy gives
Way to catharsis
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Figure 5-86 Detail
Detail of head
from front
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© 2005 Saskia Cultural Documentation, Ltd.
Figure 5-80 EPIGONOS(?), Gallic
chieftain killing himself and his
wife. Roman marble copy after a
bronze original from Pergamon,
Turkey, ca. 230–220 BCE, approx.
6’ 11” high. Museo Nazionale
Romano-Palazzo Altemps, Rome.
•Part of a monument commemorating
Defeat of the Gauls
•The dignity and heroism of the enemy
Shows the power and virtue of the
Pergamenes
•They are designed in every way to
Illicit an emotional response and
Establish an emotional connection
To the viewer…
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Figure 5-80 Detail
Upper two thirds of the Gaul
and his dead wife from front
right
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© 2005 Saskia Cultural Documentation, Ltd.
Figure 5-81 EPIGONOS(?), Dying Gaul. Roman marble copy
after a bronze original from Pergamon, Turkey, ca. 230–220
BCE, approx. 3’ 1/2” high. Museo Capitolino, Rome.
•Originally all part of an intertwined freestanding monument viewed from all sides
•We believe the artist was familiar with the dying Gauls from the Aphaia pediment
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Figure 5-82 Nike alighting on a warship
(Nike of Samothrace), from Samothrace,
Greece, ca. 190 BCE. Marble, figure
approx. 8’ 1” high. Louvre, Paris.
Originally placed on a hillside niche above
The sanctuary of the Greek gods at
Samothrace-this piece was drenched with
Spray from a fountain that simulated the
Crashing sea…
Nike here represents victory and connected
To the moment in Greek plays where the god
Descends from the heavens to determine
The outcome of the drama…
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Figure 5-82 Alternate View
Total from left front
•Contrasting textures!
•Opposing forces of balance!
•Interactive in space!
•Frozen in a moment-the form
Captures the intangibleBecoming descriptive of the
Wind itself….
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© 2005 Saskia Cultural Documentation, Ltd.
Figure 5-87 Old market woman,
ca. 150–100 BCE. Marble,
approx. 4’ 1/2” high.
Metropolitan Museum of Art,
New York.
In multicultural Hellenistic Greece,
Reality became more interesting
Than the quest for perfection…
Patrons commissioned interesting
Unusual individuals as subject
Matter…
How is this sculpture SIMILAR in
Form to the “Athena Nike”
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Figure 5-88 POLYEUKTOS, Demosthenes.
Roman marble copy after a bronze
original of ca. 280 BCE. 6’ 7 1/2” high. Ny
Carlsberg Glyptotek, Copenhagen.
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•Figure 5-83 ALEXANDROS OF ANTIOCHON-THE-MEANDER, Aphrodite (Venus de
Milo), from Melos, Greece, ca. 150–125
BCE. Marble, approx. 6’ 7” high. Louvre,
Paris.
•Looks back to Praxiteles and Lysippos…
•Heavier proportions look Classical but the
Twist to the body is Hellenistic
•Erotic tension!
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Figure 5-84 Aphrodite,
Eros, and Pan, from Delos,
Greece, ca. 100 BCE.
Marble, 4’ 4” high.
National Archaeological
Museum, Athens.
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Figure 5-84 Alternate View
Total from front left
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© 2005 Saskia Cultural Documentation, Ltd.
Figure 5-85 Sleeping
satyr (Barberini Faun),
from Rome, Italy, ca.
230–200 BCE. Marble,
approx. 7’ 1” high.
Glyptothek, Munich.
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Figure 5-85
Alternate View
Full length front
center
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© 2005 Saskia Cultural Documentation, Ltd.
Figure 5-85 Detail
bust detail from
front center
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© 2005 Saskia Cultural Documentation, Ltd.
•An episode from the Trojan wars
•Lacoon was a priest cursed by
the gods of the Greeks-serpents
Are killing him and his sons
•Designed to be seen from the front
•Similar in form and content to the
Pergamene style…diagonals are
Key here….
Figure 5-89 ATHANADOROS, HAGESANDROS, and
POLYDOROS OF RHODES, Laocoön and his sons, from Rome,
Italy, early first century CE Marble, approx. 7’ 10 1/2” high.
Vatican Museums, Rome.
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Figure 5-90
ATHANADOROS,
HAGESANDROS, and
POLYDOROS OF RHODES,
Odysseus, from Sperlonga,
Italy, early first century CE.
Marble, approx. 2’ 1” high.
Museo Archeologico,
Sperlonga.
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