AR 227/277 History of Art Aegean/Greek Visual Art PDF

AR 227 History of Art Coming up Friday, September 27, Aegean/Greece/Mycenaen, Janson Chapter 4 Monday, September 30, Aegean/Greece/Minoan, Janson Chapter 4 AR 277 History of Art Aegean and Greek Visual Art AR 277 History of Art Aegean Visual Art Mycenae Art Minoan Art AR 277 History of Ar...

AR 227 History of Art Coming up Friday, September 27, Aegean/Greece/Mycenaen, Janson Chapter 4 Monday, September 30, Aegean/Greece/Minoan, Janson Chapter 4 AR 277 History of Art Aegean and Greek Visual Art AR 277 History of Art Aegean Visual Art Mycenae Art Minoan Art AR 277 History of Art Aegean Visual Art Mycenae Art(Greek mainland) Minoan Art(Island of Crete) (after King Minos) AR 277 History of Art Aegean Visual Art, Map of Aegean Sea, Greece, Crete, Thera, and Mycenae AR 277 History of Art Aegean Visual Art Mycenae AR 277 History of Art Aegean Visual Art, Mycenae, Grave Circle A aerial view AR 277 History of Art Aegean Visual Art, Mycenae, Walled city of Mycenae artist sketch aerial view AR 277 History of Art Aegean Visual Art, Mycenae, Walled city of Mycenae, aerial view AR 277 History of Art Aegean Visual Art, Mycenae, Vertical Topographical diagram of city AR 277 History of Art Aegean Visual Art, Mycenae, Architectural technique of Corbeling. AR 277 History of Art Aegean Visual Art, Mycenae, Corbeled arch construction, Lion Gate AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate, Corbeled arch, Post and Lintel The powerful sense of structure (Lion Gate) was an inheritance Neolithic(Stone Age) that the Greeks would foster with exceptional re nement. fi AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate The main entrance of the city of Mycenae. Erected 13th century BC on the northwest side of the Acropolis. AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate Named from a relief sculpture of two lionesses in a heraldic pose. Lion Gate is the sole surviving piece of Mycenaean sculpture, largest sculpture in the prehistoric Aegean. AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate Symmetry is an essential Element of Visual Art Design composition identi ed. fi AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate, Post and Lintel construction Lintel Post AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate, Neolithic construction AR 277 History of Art Aegean Visual Art, Mycenae, Treasury of Atreus, Royal Tomb, (Tholos) c. 1300-1250 BCE. AR 277 History of Art Aegean Visual Art, Mycenae, Treasury of Atreus Tho·los A round beehive-dome stone tomb, roofed by corbel vaulting and usually built into the side of a hill. No center support. AR 277 History of Art Aegean Visual Art, Mycenae, Lion Gate, Treasury of Atreus AR 277 History of Art Aegean Visual Art, Mycenae, Mask of Agamemnon AR 277 History of Art Aegean Visual Art, Mycenae, Mask of Agamemnon This so-called mask of Agamemnon is the best known of Heinrich Schliemann's nds from the royal tombs at Mycenae. fi AR 277 History of Art Aegean Visual Art, Mycenae, Heinrich Schliemann's - Mask of 'Agamemnon AR 277 History of Art Aegean Visual Art, Mycenae, Mask of Agamemnon A death-mask, it was made from a thick sheet of metal hammered against a wooden background, with the details chased on later with a sharp tool. AR 277 History of Art Aegean Visual Art, Mycenae, Mask of Agamemnon Two holes near the ears were used to hold the mask in place with twine over the deceased's face. This one, the only mask showing a bearded man, stands out for its elegance and the intensity of the facial characteristics. AR 277 History of Art Aegean Visual Art, Mycenae, 2nd Gold Mask Second ve gold masks discovered in Mycenae's Grave Circle A were probably made for rulers. fi  AR 277 History of Art Aegean Visual Art, Mycenae, 3rd Gold Mask Third of ve gold masks found. fi  AR 277 History of Art Aegean Visual Art, Mycenae, 4th Gold Mask Fourth of ve gold masks found. fi  AR 277 History of Art Aegean Visual Art, Mycenae, 5th Gold Mask Fifth of the ve gold masks found. fi AR 277 History of Art Aegean Visual Art, Mycenae, Bull Rhyton A rhyton is a ritual vessel used for pouring liquids. AR 277 History of Art Aegean Visual Art, Mycenae, Bull Rhyton A hole at the top and the bottom. AR 277 History of Art Aegean Visual Art, Mycenae, Gold elliptical funeral diadem Shaft Grave III, "Grave of the Women,” Grave Circle A, Mycenae. 1600-1500, Chasing is the art of creating design on metal from the front side. Repousse´ is the act of pushing the metal up from the backside. AR 277 History of Art Aegean Visual Art, Mycenae, Metal Chasing/Repousse Art- Avedis The Master At Work. AR 277 History of Art Aegean Visual Art, Mycenae, The Vapheio cup(Violent capture) A pair of gold cups was found in the Tholos tomb of Vapheio in Laconia. Chasing and Repousse AR 277 History of Art Aegean Visual Art, Mycenae, The Vapheio cup(Quiet capture) Pair of gold cups found in the tholos tomb of Vapheio in Laconia, Sparta. Bull being tethered. AR 277 History of Art Aegean Visual Art, Mycenae, The Vapheio cup, Violent(upper), Quiet(lower) AR 277 History of Art Aegean Visual Art, Mycenaen and Minoan Minoan(violent) Mycenean (quiet) AR 277 History of Art Aegean Visual Art, Mycenae, Stele from Grave Circle A Sandstone sunken relief is similar to other reliefs from Egypt and Sumer. AR 227 History of Art Coming up Monday, October 2, Aegean/Greece/Minoan, Janson Chapter 4 Wednesday, October 4, Quiz, Aegean/Greece/Minoan, Janson Chapter 4 Start Ancient Greece, Janson Chapter 5 Friday, October 6, Ancient Greece, Janson Chapter 5 AR 227 History of Art Coming up Wednesday, October 2, Quiz, Aegean/Greece/Minoan, Janson Chapter 4 Start Ancient Greece, Janson Chapter 5 Friday, October 4, Ancient Greece, Janson Chapter 5 Monday, October 7, Ancient Greece, Janson Chapter 5 AR 277 History of Art Aegean Visual Art, Minoan, Map of Aegean Sea, Greece, Crete, Thera, and Mycenae AR 277 History of Art Aegean Visual Art, Minoan, Knossos, Crete Knossos a Minoan palace associated with the Labyrinth and Minotaur of Greek mythology. Knossos was rst built around 1900 BCE, destroyed by a large earthquake or foreign invaders in 1700 BCE, rebuilt more grandly, then damaged several more times by earthquakes, by invasions, and in 1450 BCE by the colossal volcanic eruption of Thera (modern Thira or Santorini). fi AR 277 History of Art Aegean Visual Art, Minoan Archaeologist Arthur Evans excavated the Palace at Knossos from 1900-1905 and named the Minoan civilization of Crete after king Minos from Greek mythology. Homer's epic poems of the Iliad and Odyssey are the rst Greek literature to mention Minos as a king of Knossos, Crete. fi AR 277 History of Art Aegean Visual Art, Minoan, Palace complex , Knossos, Crete(Island) AR 277 History of Art Aegean Visual Art, Minoan, Palace complex , Knossos, Crete(Island) Restored North Entrance with charging bull fresco AR 277 History of Art Aegean Visual Art, Minoan, Palace complex , Knossos, Crete(Island) The Knossos Complex has 3 different types of columns; 1. Upside down 2. Square 3. Greek uted fl AR 277 History of Art Aegean Visual Art, Minoan, Bull Games, Toreador Fresco Knossos palace. AR 277 History of Art Aegean Visual Art, Minoan, Palace complex , Knossos, Crete(Island) This imaginative reconstruction of bull-leaping bears little resemblance to the fresco, and is impossible as depicted. AR 277 History of Art Aegean Visual Art, Minoan, Throne hall, Knossos, Crete(Island)  AR 277 History of Art Aegean Visual Art, Minoan, Palace complex , Knossos, Crete(Island) Grif n couchant(lying down) facing the throne fi AR 277 History of Art Aegean Visual Art, Minoan, Palace complex , Knossos, Crete(Island) Minoan dolphin fresco1500 BC at Knossos palace, Heraklion (Iraklion), Crete, Greece, Europe. AR 277 History of Art Aegean Visual Art, Minoan, "Prince of lilies" or "Priest-king Relief" Plaster relief at the end of the Corridor of Processions, restored by Gilliéron, believed by Arthur Evans to be a priest-king, wearing a crown with peacock feathers and a necklace with lilies on it, leading an unseen animal to sacrifice. AR 277 History of Art Aegean Visual Art, Minoan, Sir Arthur Evans and Knossos, Crete AR 277 History of Art Aegean Visual Art, Minoan, Frescoes from Akrotiri, Thera First landscape paintings AR 277 History of Art Aegean Visual Art, Minoan, Frescoes from Akrotiri, Thera AR 277 History of Art Aegean Visual Art, Minoan, Archeologist Josh Brouwers, Knossos Knossos palace Anatolia rst settlers (Ham or Shem descendants) Trade(olive oil and opium) Boat design Columns, square, upside down, greek Laybrinth - myths and minotaurs Staircase - Atrium fi AR 277 History of Art Aegean Visual Art, Minoan, Archeologist Josho Brouwers, Knossos AR 277 History of Art Ancient Greece AR 277 History of Art Ancient Greece Man is the measure of all things. Did not acknowledge the true creator. Emphasized life over death. AR 277 History of Art Ancient Greece Man is the measure of all things. A statement by the ancient Greek philosopher Pitagoras. It is usually interpreted to mean that the individual human being(man), rather than a god or an unchanging moral law, is the ultimate source of value. AR 277 History of Art Ancient Greece, Acropolis, city at the top Located on a high rocky outcrop above the city of Athens. AR 277 History of Art Ancient Greece, Acropolis, city at the top Pericles coordinated the construction of the site's most important buildings, including; the Parthenon, the Propylaia, the Erechtheum the temple of Athena Nike. AR 277 History of Art Ancient Greece, Pottery Four styles; Geometric style Orientalizing style Black Figure style Red Figure style(most advanced)  AR 277 History of Art Ancient Greece, Pottery The clay to produce pottery was readily available throughout Greece, although the nest was Attic clay, with its high iron content giving an orange-red color with a slight sheen when red. fi fi AR 277 History of Art Ancient Greece, Pottery Greek pottery is crucial because it demonstrates an understanding of proportion in the later gurative works. fi AR 277 History of Art Ancient Greece, Pottery Clay was generally prepared and re ned in settling tanks so that different consistencies of material could be achieved depending on the vessel types to be made. fi AR 277 History of Art Ancient Greece, Pottery, Geometric style Pottery includes a variety of geometric and linear motifs: dots and lines formed into angles, squares, triangles, lozenges, oblique strokes, and so on. AR 277 History of Art Ancient Greece, Pottery, Geometric style Neck Amphora The amphora a two-handled pot with a neck that is considerably narrower than the body. The height of the neck will vary from short to tall. It was used for the storage of liquids and solids such as grain. AR 277 History of Art Ancient Greece, Pottery, Geometric style Neck Amphora Made of ceramic pottery hand-drawn and painted AR 277 History of Art Ancient Greece, Pottery, Geometric style Neck Amphora Terracotta; H. 27 in. 1. Armed warriors, chariots, and horses are the most familiar iconography of the Geometric period. 2. Images re ect a real world of military threat and con ict, or refer to the heroic deeds of ancestors, is unknown. 3. Snakes, traditionally associated with death, amphora's function as a funerary dedication. fl fl AR 277 History of Art Ancient Greece, Pottery, Geometric style AR 277 History of Art Ancient Greece, Pottery, Geometric style Krater Dipylon cemetery, Athens, Greece. Kraters are large, with a broad body and base and usually a wide mouth. AR 277 History of Art Ancient Greece, Pottery, Geometric style Krater Large footed krater 42 in., wheel thrown in sections and assembled. Top is a frieze called the 'stepped meander.' AR 277 History of Art Ancient Greece, Pottery, Geometric style Krater Below burial procession(pulling hair). Procession of chariots, horses and warriors. Warriors are stylized and geometric gures. 3 horses are painted one behind the next all 12 legs appear in one plane. fi AR 277 History of Art Ancient Greece, Pottery, Geometric style, Krater Greek Geometric style Dipylon Amphora Master Dipylon Master worked in Athens, where he and his workshop produced large funerary vessels for those interred in the Dipylon cemetery, hence where his name comes. AR 227 History of Art Coming up Friday, October 6, Ancient Greece, Janson Chapter 5 Monday, October 9, Ancient Greece, Janson Chapter 5 Wednesday, October 11, Ancient Greece, Janson Chapter 5 Friday, October 13, Ancient Greece, Janson Chapter 5 Monday, October 16, Ancient Greece, Janson Chapter 5 AR 277 History of Art Ancient Greece, Pottery, Orientalizing style Floral and animal motifs marked the distinctive Orientalizing style. AR 277 History of Art Ancient Greece, Pottery, Orientalizing style Orientalizing style, spurred by a period of increased cultural interchange in the Aegean world. The style is inspired by the East(Syria and Assyria) and is characterized by a shift from the prevailing Geometric style. AR 277 History of Art Ancient Greece, Pottery, Orientalizing style The decoration is less based on narrow bands of decoration like the previous geometric style. There is also the use of polychromy (multiple colors). Figures gain in importance, though mostly animal gures, not human. fi AR 277 History of Art Ancient Greece, Pottery, Orientalizing style There is also greater use of naturalistic representation. Palmette lion, Grif ns; combination animals has the front body of a lion and the head and wings of an eagle. fi AR 277 History of Art Ancient Greece, Pottery, Orientalizing style Palmette pattern repeated throughout. AR 277 History of Art Ancient Greece, Pottery, Orientalizing style Fauna is also repeated throughout. AR 277 History of Art Ancient Greece, Pottery, Black Figure style This style of pottery was characterized by black, silhouette gures and ornamentation painted onto a clay vessel. fi AR 277 History of Art Ancient Greece, Pottery, Black Figure style, Amphora Amphora This is when the painting on the pottery begins to rise to a high level of realism in representation. AR 277 History of Art Ancient Greece, Pottery, Black Figure style, Amphora Exekias (ex-EEK-ee-us) Greek black- gure vase painter. He was from Athens. Graver technique slight relief line. Depicts Achilles(left) Ajax(right) playing a board game. fi AR 277 History of Art Ancient Greece, Pottery, Black Figure style, Exekias’s Amphora Vatican Amphora We know his name because he wrote it on his vases, "Exekias painted this vase". AR 277 History of Art Ancient Greece, Pottery, Black Figure style, Exekias’s Amphora Potter was interested in balance and composition - making sure that the people and things in his pictures were attractively arranged. AR 277 History of Art Ancient Greece, Pottery, Black Figure style, Exekias's Vatican Amphora AR 277 History of Art Ancient Greece, Pottery, Red Figure style The technique consisted of a background painted in black slip (instead of the gures) and relief lines were used for details. fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Andokides The red- gure technique was invented around 530 B.C., possibly by Andokides and his workshop. fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style The red- gure gradually replaced the black- gure technique as innovators recognized the possibilities that came with drawing forms, rather than laboriously delineating them with incisions. fi fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style The use of a brush in red- gure technique was better suited to the naturalistic representation of anatomy, garments, and emotions. fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style, style Andokides AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Bell Krater Bell krater(bell shape) design style of ancient Greek pottery meaning "mix," as the purpose of clay pots made in this style was used to mix water and wine before being served. AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Bell Krater Bell Kraters were probably most often used during drinking parties or large family meals, as they are large bowls that can accommodate large amounts of liquid, which was traditionally ladled into smaller drinking cups, called "kylix," or other vessels. AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Column Krater, Attic Painter Column-krater(based on the columnar handles , ca. 430 B.C., red-figure Attributed to the Marlay Painter (Attic vase painter, active ca. 450- ca. 420 B.C.) H. 15 in., Diam. with handles 14 1/16 in. Note use of Black Figure style  AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Berlin Painter Beazley named this Late Archaic Greek artist the “Berlin Painter” after an amphora in a Berlin museum. gure emphasized due to the lack of other elements in the design sash from the harp suggests movement, strong understanding of depth fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Berlin Painter  AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Berlin Painter 200+ works attributed to Berlin Painter Important vase painter of the fth century B.C., abandoned the rigid frames of panels on the amphora so that the contour of the vase itself focuses our attention on his solitary gures. The sash below his kithara sways with the rhythm of his song. fi fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Berlin Painter Hera Zeus Athena Terracotta stamnos (wide mouth Zeus with horizontal handles) Attributed to the Berlin Painter Athena between Hera and Zeus Athena holds an oinochoe (jug) as Zeus and Hera proffer phialai (libation bowls) to be lled. fi AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Athena Berlin Painter Terracotta stamnos Berlin Painter Athena between Hera and Zeus On the reverse, a young warrior stands between a seated man and a standing woman who holds an oinochoe and a phiale. The libation is poured when the warrior departs in order to insure his safe return. AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Berlin Painter Terracotta stamnos (jar) Attributed to the Berlin Painter Warrior leaving home This combination of scenes provides a remarkably graphic illustration of the ancient Athenians' sense that a communality in belief and practice existed between the mortal and divine worlds. AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Amphora, Berlin Painter Pottery shapes AR 277 History of Art Ancient Greece, Pottery, Red Figure style, Attic Painter Attic red-figure Stamnos depicting Amazons and the Greeks Note: movement and suggestion of movement. AR 277 History of Art Ancient Greece, Pottery, In conclusion; Four styles; Geometric Orientalizing Black Figure Red Figure The Red Figure style is the most advanced among the four styles. Attic Painters Berlin Painters Andokides AR 277 History of Art Ancient Greece, Pottery, Conclusion, types of vases 1. The Neck Amphora a two-handled pot with a neck that is considerably narrower than the body. The height of the neck will vary from short to tall. 2. Kraters are large, with a broad body and base and usually a wide-mouth. 3. Bell Krater, wide-mouth with bell shape 4. Stamnos wide-mouthed jar with an offset neck, often lidded (or lip), usually has two handles parallel to lid. AR 227 History of Art Coming up Monday, October 9, Ancient Greece, Janson Chapter 5 Wednesday, October 11, Ancient Greece, Janson Chapter 5 Friday, October 13, Ancient Greece, Janson Chapter 5 Monday, October 16, Ancient Greece, Janson Chapter 5 AR 277 History of Art Ancient Greece, Classical Ideals There is a thread that runs through the History of Visual Art and Design Timeline called the “Classical Ideals”. Joseph A. Digangi AR 277 History of Art Ancient Greece, Classical Ideals The Classical Ideals incorporate the Elements and Principles of Visual Art and Design. AR 277 History of Art Ancient Greece, Classical Ideals, Elements and Principles Elements Principles Line Symmetry Shape Proportion Form Unity Value Rhythm Space Emphasis Texture Contrast Color Movement AR 227 History of Art Introduction, Classical Ideal The points of “Maturation” on the Timeline of Visual Art and Design Linear Symmetry Chiaroscuro Color Perspective Proportion Texture Sfumato 20th Century Ancient Greece Renaissance AR 277 History of Art Ancient Greece, Classical Ideals, Tenets Three tenets 1. Enduring-timeless 2. Based on rules-observed in creation 3. Created by GOD AR 277 History of Art Ancient Greece, Classical Ideals, Tenets Tenet 1 Enduring; time tested, passed on from generation to generation. This characteristic identi es the fact that they are truth, foundational, constant, and reliable. fi AR 277 History of Art Ancient Greece, Classical Ideals, Tenets Tenet 2 Based on rules; observed in nature(creation). They are directly supported and interconnected to the Elements and Principles of Design and often supported and enhanced by science. AR 277 History of Art Ancient Greece, Classical Ideals, Tenets Tenet 3 Created by GOD; authored and masterfully used them in the creation of the world. It only makes sense for us to learn them and use them in our own creative activities. AR 277 History of Art Ancient Greece, Classical Ideals, Tenets Each “Classical Ideal” has a point that can be located and identi ed on the history of Visual Art timeline. This point is identi ed as a “coming of age”. fi fi AR 277 History of Art Ancient Greece, Classical Ideals, Tenets It is called the “Point of Maturation”. AR 277 History of Art Ancient Greece, Classical Ideals, Tenets Before the “point of maturation,” there is a fragmented use and understanding of the Classical Ideal represented. AR 227 History of Art Introduction, Classical Ideals, Point of Maturation The points of “Maturation” on the Timeline of Visual Art and Design Linear Symmetry Chiaroscuro Color Perspective Proportion Texture Sfumato 20th Century Ancient Greece Renaissance AR 277 History of Art Ancient Greece, Classical Ideals, Tenets “Point of Maturation” fragmented understanding future understanding working or foundational understanding AR 277 History of Art Ancient Greece, Classical Ideals, Tenets At the “point of maturation,” a person and entity(artifact) is often identi ed in connection with the Ideal depending on the category. fi AR 277 History of Art Ancient Greece, Classical Ideals, Tenets After the “point of maturation,” further truths are revealed which heighten its use and understanding. Science and or technology many times plays and essential role in advancing deeper application. AR 277 History of Art Ancient Greece, Classical Ideals, Symmetry Classical Ideal-Symmetry De nition: Symmetrical balance (or Symmetry) means that the work of art is the same on one side as the other, a mirror image of itself, onboth sides of a center line. fi AR 277 History of Art Ancient Greece, Classical Ideals, Symmetry, Cat sh skull, front fi AR 277 History of Art Ancient Greece, Classical Ideals, Symmetry, Cat sh skull, back fi AR 227 History of Art Coming up Wednesday, October 11, Ancient Greece, Janson Chapter 5 Friday, October 13, Ancient Greece, Janson Chapter 5 Monday, October 16, Ancient Greece, Janson Chapter 5 AR 277 History of Art Ancient Greece, Classical Ideals, Proportion Classical Ideal-Proportion De nition: Proportion refers to the dimensions of a composition and relationships between height, width and depth. How proportion is used will affect how realistic or stylised something seems. Proportion also describes how the sizes of different parts of a piece of art or design relate to each other. fi AR 277 History of Art Ancient Greece, Architecture Order Doric, Ionic, and Corinthian columns Buildings Temple of Poseidon, Parthenon, Erechtheum AR 277 History of Art Ancient Greece, Architecture, Column orders AR 277 History of Art Ancient Greece, Architecture, Temple of Poseidon, 460B.C., Paestum, Italy, note uting fl AR 277 History of Art Ancient Greece, Architecture, Doric Order AR 277 History of Art Ancient Greece, Architecture, Doric Order AR 277 History of Art Ancient Greece, Architecture, Ionic Order AR 277 History of Art Ancient Greece, Architecture, Ionic Order AR 277 History of Art Ancient Greece, Architecture, Corinthian Order, slender, acanthus leaf AR 277 History of Art Ancient Greece, Architecture, Acropolis-city at the top AR 277 History of Art Ancient Greece, Architecture, Pericles Coordinated the construction of the Parthenon, Propylaia, Erechtheion and the temple of Athena Nike. AR 277 History of Art Ancient Greece, Architecture, Phidias Acted as supervisor of all architectural and artistic works for the Acropolis in Athens. AR 277 History of Art Ancient Greece, Architecture, Phidias Showing the Frieze of the Parthenon to his Friends, (1868) by Sir Lawrence Alma-Tadema AR 277 History of Art Ancient Greece, Architecture, Phidias Although much of the building and its decoration have survived, none of Phidias's personal contributions remain. AR 277 History of Art Ancient Greece, Architecture, Parthenon, architects, Iktinos and Kallikrates AR 277 History of Art Ancient Greece, Architecture, Parthenon, Doric and Ionic order AR 277 History of Art Ancient Greece, Architecture, Parthenon, Classical Ideals, Symmetry and Proportion AR 277 History of Art Ancient Greece, Architecture, Parthenon, architects, Iktinos and Kallikrates The Parthenon itself managed to push the aesthetic conventions of its time to their logical conclusion: a building that touched the ideal in every formal detail.  AR 277 History of Art Ancient Greece, Architecture, Parthenon, architects, Iktinos and Kallikrates Parthenon, No mortar used, used as a gunpowder store took a direct hit from a mortar red by the Venetians or Turks from the Hill of Philopappus, the gunpowder exploded and destroyed a large part of the building. fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, architects, Iktinos and Kallikrates What was left was further damaged in 1801 when many of the depictions and remaining antiques were forcibly removed by the British Ambassador at Constantinople, the Earl of Elgin, under orders to make casts and drawings by the Sultan. AR 277 History of Art Classical Ideal, Proportion, Parthenon, Golden Ratio, Optical Re nements fi  AR 277 History of Art Classical Ideal, Proportion, Parthenon, Golden Ratio, Optical Re nements We nd evidence that appears to substantiate the application of golden ratios in the following design elements of the Parthenon: Gary Meisner https:// www.goldennumber.n et/parthenon-golden- ratio-myth-or- misinformation/ fi fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, Contest Birth of between Athena Athena and (front) Poseidon, (back) AR 277 History of Art Classical Ideal, Proportion, Parthenon, Golden Ratio, Optical Re nements fi AR 277 History of Art Classical Ideal, Proportion, Parthenon, Golden Ratio, Optical Re nements fi AR 277 History of Art Classical Ideal, Proportion, Parthenon, Golden Ratio, Optical Re nements fi AR 277 History of Art Classical Ideal, Proportion, Parthenon, Golden Ratio, Optical Re nements fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, Optical Re nements 1. Styobate bowed in the center 2. Columns swell(entasis) wider in center and slant inward 3. Columns spaced closer at corners 4. Columns slant inward, no straight lines fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements 1. Styobate convex 2. Entasis fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements The Greeks used entasis in their buildings to correct optical illusions. Entasis is Greek for tension or swelling and refers to a convex curve incorporated into upright structures like columns and spires. Read more : http://www.ehow.com/facts_7325763_did-use-entasis-building- monuments_.html fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements Columns inclined inward and wider in the center fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements 3. Columns spaced differently at corners fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements 2. Columns inclined inward and wider in center fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, optical re nements No straight lines throughout fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, Athena Parthenos, Pheidias AR 277 History of Art Ancient Greece, Architecture, Parthenon, Phi, Golden Rectangle and Spiral AR 277 History of Art Ancient Greece, Architecture, Parthenon, Phi, Golden Rectangle and Spiral AR 277 History of Art Ancient Greece, Architecture, Parthenon, Phi, Golden Rectangle and Spiral Classical art is renowned for its harmony, balance(Symm etry), and sense of Proportion, also called (classicism) and or Classical Ideals. AR 277 History of Art Ancient Greece, Architecture, Parthenon, Phi, Golden Rectangle and Spiral Golden Spiral and Fibonacci numbers AR 277 History of Art Ancient Greece, Architecture, Parthenon, Phi, Golden Rectangle and Spiral Phi - 1.618 AR 277 History of Art Ancient Greece, Architecture, The Golden Ratio in Nature AR 277 History of Art Ancient Greece, Architecture, Parthenon, architects, Iktinos and Kallikrates What to watch for; 1. Optical Re nements 2. Entasis 3. Golden Ratio 4. Classical Ideals of Symmetry and Proportion fi AR 277 History of Art Ancient Greece, Architecture, Parthenon, Secrets of the Parthenon AR 277 History of Art Ancient Greece, Architecture, Erechtheum AR 277 History of Art Ancient Greece, Architecture, Erechtheum AR 277 History of Art Ancient Greece, Architecture, Erechtheum, Porch of the Maidens, contrapposto / counterpose, Classical Ideal Symmetry Mirror / Re ection fl AR 277 History of Art Ancient Greece, Architecture, Erechtheum AR 277 History of Art Ancient Greece, Architecture, Erechtheum, Porch of the Maidens, Caryatids AR 277 History of Art Ancient Greece, Architecture, Erechtheum, Porch of the Maidens, Caryatids AR 227 History of Art Coming up Monday, October 16, Ancient Greece, Janson Chapter 5 Wednesday, October 18, Test, Aegean - Ancient Greece, Janson Chapter 5 Friday, October 20, Ancient Rome, Janson Chapter 6 AR 277 History of Art Ancient Greece, Sculpture Archaic Classical Hellenistic AR 277 History of Art Ancient Greece, Sculpture Greek Sculpture Archaic AR 277 History of Art Ancient Greece, Sculpture, Archaic Period Characteristics a. heavily in uenced by the Egyptian grid b. clenched st c. left foot forward d. slightly more relaxed pose, not as stiff as the Egyptian Standardized / Idealized pose fl fi AR 277 History of Art Ancient Greece, Sculpture, Archaic - Kouros - Male Figure 1. kouros, nude male youths 2. free-standing 3. possible athlete AR 277 History of Art Ancient Greece, Sculpture, Archaic - Kore - Female Figure 1. Kore (plural korai) female gures, always of a young age 2. free-standing 3. natural hair style 4. slight expression fi AR 277 History of Art Ancient Greece, Sculpture, Classical Characteristics a. realistic(living esh in stone) b. perfect proportions c. expressionless, no emotion portrayed d. contrapposto pose e. supports identify the sculpture as a Roman copy fl AR 277 History of Art Ancient Greece, Sculpture, Classical Praxiteles Myron Polykleitos AR 277 History of Art Ancient Greece, Sculpture, Classical, Praxiteles, Attic Sculptor Praxiteles was a celebrated Attic sculptor from Athens, his father, Kephisodotus, was believed to be another renowned Attic sculptor. AR 277 History of Art Ancient Greece, Sculpture, Classical, Praxiteles, Aphrodite of Knidos Aphrodite of Knidos, 66 in.) Praxiteles produced the rst nude monumental statue of a goddess in the Greek world. fi AR 277 History of Art Ancient Greece, Sculpture, Classical, Praxiteles, Hermes and the Infant Dionysos Hermes(god of wealth and trade) and Dionysos(god of wine) The missing arm is thought to be holding a clump of grapes. Turned head helps to suggest life by acknowledging the presence of Dionysos. AR 277 History of Art Ancient Greece, Sculpture, Classical, Praxiteles, Hermes and the Infant Dionysos Contrapposto is an Italian term that means counterpose. AR 277 History of Art Ancient Greece, Sculpture, Classical, The Discobolus or Discus Thrower of Myron. Myron, Complex pose with perfect proportions and little expression. (Roman copy) AR 277 History of Art Ancient Greece, Sculpture, Classical, The Discobolus or Discus Thrower of Myron. Myron produced innovative compositions. AR 277 History of Art Ancient Greece, Sculpture, Classical, The Discobolus or Discus Thrower of Myron. Myron’s most famous statue, which exists only in the form of copies by Roman artists, is the famous bronze gure of a disc thrower known as Discobolus (c.425 BCE). An older contemporary of Phidias and Polyclitus. fi AR 277 History of Art Ancient Greece, Sculpture, Classical, Myron, Cow of Myron.... cow of Myron, the bronze original of which was on the Acropolis of Athens. AR 277 History of Art Ancient Greece, Sculpture, Classical, West end of the Parthenon Contest between Athena and Poseidon AR 277 History of Art Ancient Greece, Sculpture, Classical, East end of the Parthenon, Birth of Athena The east pediment of the Parthenon shows birth Athena from the head of her father Zeus. Witnessed by various gures shown on either side and lling the triangular space of the gable end of the temple. In the corners, the time of day was set by the chariot of Helios, god of the sun, rising at dawn, and the chariot of Selene, the Moon goddess, sinking beneath the horizon. Selene's torso is in Athens, the head of one of her team of horses in British Museum. fi fi AR 277 History of Art Ancient Greece, Sculpture, Classical, East end of the Parthenon, Birth of Athena Phidias and his assistants responsible for the marble sculptures on the Parthenon pediment. The Elgin(found by Lord Elgin) Marbles are now in the British Museum. Several of these sculptures have been attributed to Phidias, but none with certainty. AR 277 History of Art Ancient Greece, Sculpture, Classical, East end of the Parthenon, Birth of Athena Head of a horse of Selene from the east pediment of the Parthenon. Acropolis, Athens, 438-432 BC. One of the best loved sculptures from the Parthenon AR 277 History of Art Ancient Greece, Sculpture, Classical, The Elgin(found by Lord Elgin) Marbles AR 277 History of Art Ancient Greece, Sculpture, Classical, Polykleitos' Doryphoros (Spear-Bearer) Classical Ideal Proportion 3D (sculpture) Roman copy in marble of bronze original. AR 277 History of Art Ancient Greece, Sculpture, Classical, Polykleitos' Doryphoros (Spear-Bearer) Unique characteristics 1. Proportions, the second digit of the thumb 2. Implied movement 3. Acknowledgement of or presence of someone 4. Classical expressionless face 5. Contrapposto pose(counterpose) 6. Canon of sculpture 7. Living esh in stone fl AR 277 History of Art Ancient Greece, Sculpture, Hellenistic AR 277 History of Art Ancient Greece, Sculpture, Hellenistic Classical Greek sculpture was calm and serene(stoic) and rarely ever expressed any particular emotion. Hellenistic Greek sculpture was less about harmony and serenity, and more about achieving excitement, movement, and intense feeling. AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, The Wrestlers Hellenistic Greek sculptures emphasize elements of emotion and storytelling. AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, The Wrestlers AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Apollonius, Seated Boxer Bronze, a work of Lyssipus of Sikyon, a sculptor who worked for Alexander the Great (or a piece of Apollonius?, c. 225 BC ), Terme Museum Rome, Italy It communicates a defeated older, not young boxer possibly looking at the victor. The viewer can not help but have sympathy for him. His face and ears show scars from current and past ghts. fi AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Nike of Samothrace 2nd-century BC marble sculpture of the Greek goddess Nike (Victory) AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Nike of Samothrace 1. intangible wind implied by the leaning pose of the gure 2. “wet drapery” implies underlying form 3. winged goddess of victory 4. communicates the sound of speed, power, movement fi AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Nike of Samothrace  AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, The Dying Gaul Communicates death and dying, an overwhelming sympathy for the defeated warrior. Powerful element of emotion beyond the mastery of the human gure fi AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) One of the most famous ancient sculptures ever since it was excavated in Rome in 1506 AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) Placed on public display in the Vatican, where it remains. AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) The group has been "the prototypical icon of human agony" in Western art. The sculpture compels the viewer to hope or desire to see them freed from the grips of the serpents. AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) The gures are nearly life-size and the group is (6 ft 7 in) in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. 1. Dramatic facial expression(passion) 2. Priest from Troy and his two sons 3. Warned about receiving gifts from Athenians fi AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) 4. The twisting gure appealed to Michaelangelo. Michelangelo was asked about the position of the arm found later. fi AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) Michelangelo used the same pose for Christ in the The Last Judgment Mary and Christ, Sistine Chapel Altar wall. AR 277 History of Art Ancient Greece, Sculpture, Hellenistic, Laocoön and His Sons (Laocoön Group) Similar pose was used for the Pergamon Altar in the 2nd century BC on one of the terraces of the acropolis of the ancient Greek city of Pergamon in Asia Minor. Athena battling Alkyoneos(note arm) Symmetry work in progress at the some time in the past-