Art Appreciation PDF - Ancient Greek Art

ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Module 1 – Art: The Basics Music Dance DEFINITION OF ART Theatre Film Art is the...

ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Module 1 – Art: The Basics Music Dance DEFINITION OF ART Theatre Film Art is the expression of man’s ideas, (Painting to Theatre - Traditional Arts imagination, and emotions through the Painting to Film - Major Arts) use of his body. ELEMENTS OF ART “Art completes what nature cannot bring to a finish. The artist gives us Space - refers to the distances or areas knowledge of nature’s unrealized around, between, and within components ends.” - Aristotle of a piece. Positive Space - subject of the “The true work of art is but a piece itself shadow of the divine perfection.” Negative Space - empty spaces - Michelangelo the artist has created around, between, and within the subjects “Art is a mediator of the unspeakable" - Johann Wolfgang Shape - an enclosed space, bounded von Goethe two-dimensional form that has length and width “Art is a mad search for individualism.” - Paul Gauguin Organic Shapes - based on natural or living forms, can be “Art is not a mirror held up to irregular reality, but a hammer with which to Geometric Shapes - based on shape it.” - Bertolt Brecht measured forms Art is the expression of man’s ideas, imagination, and emotions Line - indicates direction, orientation, through the use of his body movement, and energy, considered as the oldest, simplest universal element. CHARACTERISTICS OF ART Vertical Line - basic framework of Man-made all forms, power, strength, stability, Unique simplicity, and efficiency Aesthetics Horizontal Line - creates an impression of serenity and perfect TYPES OF ART stability, rest, calmness, peace, and reposed Painting Jagged Line - shows violence, Sculpture confusion, and conflict Architecture Curved Line - shows a gradual Literature change of direction and fluidity and signifies subtle form JE.M | 1 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Form - something that is Saturation - refers to the vividness of three-dimensional and encloses volume, color having length, width, and height Value - lightness or darkness of the color Geometric Forms - mathematical, precise, and can be named; sphere, cube, pyramid, cone, cylinder Organic Forms - free-flowing, curvy, not symmetrical or easily measurable or named Color - produced when light, striking an object, is reflected back to the eye; a sensation, a human reaction to a hue arising in part from the optic nerve PRINCIPLES OF ART Texture - describe the way three-dimensional work actually feels Emphasis - refers to developing points of when touched; in two-dimensional work, it interest to pull the viewer’s eye to may refer to the visual “feel” or a piece important parts of the body of the work Value - relevant to the lightness or Balance - sense of stability in the body of darkness of any color; its importance is work; can be created by repeating same easiest to visualize in a work with no shapes and by creating a feeling of equal colors other than black, white, and a weight grayscale Harmony - achieved by using similar CLASSIFICATION OF COLORS elements throughout the work; gives an uncomplicated look to you work Primary Colors - colors that cannot be formed from mixtures because they are Variety - refers to the differences in the pure colors. work, can achieve by using different Ex. Red, Blue, Yellow shapes, textures, colors, and values in Secondary Colors - colors form out of your work combination Ex. Blue + Yellow = Green Movement - adds excitement to your work Intermediate Colors - colors form out of by showing action and directing the mixing one primary and one secondary viewer’s eye throughout the picture plane color Ex. Yellow + Green = Yellow Green Unity - seen in a painting or drawing when all the parts equal a whole Hue - refers to the names we assign a color JE.M | 2 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Module 2 – Ancient Greek Art FRESCOES The painting of color pigments on wet lime plaster without a binding agent. When the paint is absorbed by the plaster, it is fixed and protected from fading. Depict scenes from everyday life. Frescoes are fragile and often get A. bell krater, B. lebes, C. skyphos, D. destroyed when removed from aryballos, E. hydria, F. volute krater, G. their original sites. kantharos, H. psykter, I. kylix, J. stamnos, K. alabastron, L. oinochoe, M. lekythos, N. amphora SCULPTURES Greek art of classical antiquity is believed to be a mixture of Egyptian, Syrian, Minoan (Crete), Mycenaean and Persian cultures Greek sculptors learned both stone Minoan Bull-leaping Fresco carving and bronze-casting from from Knossos, Crete, 1450-1400 BCE the Egyptians and Syrians. Sculpture was developed by the Ionians and Dorians POTTERY THREE PERIODS OF GREEK Achieved prominence from 1000 BCE to 400 BCE SCULPTURE Vases were meant to be used in everyday life Archaic Period There were painters partnering with potters in creating vases Archaic free-standing figures have Amphorae for storing wine, the solid mass and frontal stance large kraters for mixing wine with of Egyptian models, but their forms water, jugs for pouring are more dynamic wine, kylixes or stemmed cups with The three most common statues horizontal handles for drinking, were the standing nude youth hydra with three handles for (kouros, plural kouroi), the holding water, skyphoi or deep standing draped girl (kore, plural bowls, and lekythoi jars for holding korai), and the seated woman oils and perfumes JE.M | 3 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Hellenistic Period It has been seen as continuation, refinement, and expansion of Greek, or Hellenistic, influence in the Mediterranean world after Alexander the Great Kleobis and Biton (610-580 BCE), The Many artistic subjects appear Moschoporos (c.570), The Anavysos significantly more dramatized than Kouros (c. 525) before and for the first time emotive facial expressions Classical Period featured in monumental sculpture Embraced adverse themes such Although a time of conflict, the as suffering, old age, and death intellectualism and creativity of the Classical period produced a plethora of memorable works of art and has even been considered a ‘golden age’ Classical Greek sculpture incorporated more diverse figure types and bodily poses as well as a sharp increase in technical dexterity, resulting in far more naturalistic and realistic sculptures Some famous sculptors during the period are Phidias, Praxiteles, Kritios, Lysippos, and Myron Winged Victory of Samothrace (290-190BCE), Aphrodite, Pan and Eros (c. 100), Venus De Milo (Aphrodite of Melos) (c. 100), Laocoon and his Sons (42-20 BCE) ARCHITECTURE Greek architects provided some of the finest and most distinctive buildings in the entire Ancient World Characterized by simplicity, Aphrodite of Knidos (c. 350 BCE), proportion, perspective, and Discobolus (460-50 BCE), The Artemision harmony Bronze (c. 460 BCE), Zeus at Olympia (c. 435 BCE) DORIC ORDER Earliest of the three Classical orders of architecture JE.M | 4 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Transition from wood to stone Characterized by a plain, unadorned column capital and a column that rests directly on the stylobate of the temple without a base The Doric entablature includes a frieze composed of triglyphs (vertical plaques with three divisions) and metopes (square spaces for either painted or sculpted decoration). The columns are fluted and are of sturdy, if not stocky,proportions IONIC ORDER Originated in Ionia, a coastal region of central Anatolia (present-day Turkey) where a number of ancient Greek settlements were located Volutes (scroll-like ornaments) characterize the Ionic capital and a Parthenon base supports the column Table for its graceful proportions, giving a more slender and elegant profile than the Doric order CORINTHIAN ORDER Originated from the Greek city-state of Corinth where the sculptor Callimachus drew a set of acanthus leaves surrounding a votive basket The defining element of the Corinthian order is its elaborate, Recreation of the Temple of Artemis at carved capital, which incorporates Ephesus even more vegetal elements than the Ionic order does THEATRE Dionysus, the god of wine, had a cult following – the cult of Dionysus “Dionysus is associated with darkness, with the loss of boundaries around the self JE.M | 5 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 experienced in a crowd.” – David PARTS OF GREEK THEATRE Wiles Athens’ democratic government sponsored the cult of Dionysus and established festivals in tribute to 5th century Greek theatre that was integrated into civic/religious discourse. Festivals included processions, sacrifices, celebrations, feasting and choral laments. Four Dionysian festivals – Rural Dionysia, Lenaia, Anthesteria and City Dionysia Some say that competitions on tragedies originated in 534 BCE. Thespis was the first winner, who was also considered the first actor. Others claim that the City Dionysia PERFORMERS, MASKS, COSTUMES was established in 503-501 BCE. AND MUSIC All performers were male Thespis was the first actor. Aeschylus added the second actor while Sophocles introduced the third actor. Masks were an essential part of Greek theatre. Tragic masks had formalized, expressionless faces. Comic masks presented caricatures, grotesques, or animal Theatre of Delphi heads. Costumes for tragedy included a tunic or sometimes a long/short cloak. Costumes for comedy were based on everyday wear and included a phallus. A double pipe, aulos, was integral in the music of Greek theatre. Another essential instrument was the harp. PLAY & PLAYWRIGHTS Theatre of Epidaurus Only 44 plays survived from the Greek classical period. These were written by Aeschylus, Sophocles, Euripides and Aristophanes. JE.M | 6 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Greek tragedies did not end with a terrible event. Some end on an affirmative note. Many address the history and character of Athens. The only extant comedies were those of Aristophanes characterized as bawdy, obscene, fantastical, or absurd Criticized politicians, militarists, oracle mongers and similar figures of power In The Clouds, he ridiculed Socrates. In The Frogs, he ridiculed Euripides and Dionysus Rome’s acquisition of Carthaginian territory ARISTOTLE’S POETICS First systematic treatise on drama developed between 336-331 BCE from the winners of the City Dionysia Plot Character Thought Diction Music Spectacle Mimesis – imitation or representation of action and characters Hubris – excessive pride Roman Empire Hamartia – tragic flaw Anagnorisis – recognition ROMAN ART Peripeteia – reversal of fate Catharsis – purgation of emotions Spanned for 1,000 years in three continents – Europe, Asia, and Module 3 – Ancient Roman Art Africa Used broad spectrum of media including marble, painting, mosaic, gems, silver and bronze work, and terracotta Mostly has Greek, Etruscan, and Egyptian influences REPUBLICAN ROME Art was produced in the service of the state, depicting public sacrifices or celebrating victorious Rome as a Republic (509-27 BCE) military campaigns JE.M | 7 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Bracelets were often buried with Portraits depicted the collective the dead and are therefore found goals of the Republic as grave goods. Patrons chose to have themselves Rings were worn by men, women represented with balding heads, and children. They were made of large noses, and extra wrinkles, silver, gold, bronze, iron and jet demonstrating that they had spent and sometimes had precious their lives working for the Republic stones and intaglios set in them. as model citizens, flaunting their Some are plain bands but others acquired wisdom with each furrow have more intricate designs of the brow POTTERY IMPERIAL ROME Ancient Roman fine wares were Aggrandized the ruler and his called terra sigillata. These were family characterized by red-colored Often hearkened back to the pottery with glossy surface slips Classical art of the past Flourished in Italy and Gaul The characteristics of Late Antique (modern-day France) during the art include frontality, stiffness of Roman Empire pose and drapery, deeply drilled lines, less naturalism, squat proportions and lack of individualism. Important figures are often slightly larger or are placed above the rest of the crowd to denote importance MINOR ART The 2nd image is a close up of the 1st bowl shown. Depicting hunting JEWELRY scenes, this piece of pottery was found in Kingsmead Quarry Jewelry equates to richness. (Horton, England), and dates to Mostly were worn by women but about 120-145 CE there were also men who wore jewelry Jewelry were made of precious stones such as opals, emeralds, diamonds, topaz and pearls Bracelets of bronze, bone and jets are frequently found. Some were made of shale Children and babies also wore Red gloss terra sigillata ware bangles. with relief decoration JE.M | 8 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 PAINTING Roman interiors were lavishly painted and had stucco. For the 1st century BC and 1st century AD, the largest body of evidence comes from Pompeii and Herculaneum, both destroyed by Mt. Vesuvius CUPID FRIEZE, Roman wall painters (or perhaps HOUSE OF THE VETTII, POMPEII their clients) preferred natural earth colors such as darker shades of MOSAICS reds, yellows, and browns Subjects included portraits, scenes Mosaics, otherwise known as opus from mythology, architecture, flora, tessellatum, were made with small fauna, and even entire gardens, black, white, and colored squares landscapes, and townscapes of marble, tile, glass, pottery, stone, or shells Each individual piece measured between 0.5 and 1.5 cm but fine details, especially in the central panel (emblemata) were often rendered using even smaller pieces as little as 1mm in size Popular subjects included scenes from mythology, gladiator contests, sports, agriculture, hunting, food, flora and fauna, and sometimes FRESCOES FROM THE VILLA OF LIVIA they even captured the Romans (2ND HALF OF THE 1ST CENTURY themselves in detailed and realistic BCE) portraits MOSAIC OF A GYPSY GIRL CUBICULUM FRESCOE, VILLA OF THE FARNESINA JE.M | 9 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Sculptures depicted prominent political figures in Rome or wealthy individuals. They were both manifestations of life and death Larger than life sculptures were also carved for gods, emperors, and heroes ALEXANDER MOSAIC, HOUSE OF THE FAUN, POMPEII THE ORATOR, 1ST CENTURY BCE HEAD OF A ROMAN PATRICIAN, 75-50 BCE DETAIL OF ALEXANDER THE GREAT AUGUSTUS OF PRIMAPORTA, 20 BCE THE GREAT HUNT, VILLA ROMANA DEL CASALE SCULPTURE FONSECA BUST, 2ND CENTURY CE Roman sculpture blended the idealized perfection of earlier Classical Greek sculpture with a greater aspiration for realism and mixed in the styles prevalent in Eastern art They mostly used marble and bronze JE.M | 10 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 EQUESTRIAN STATUE OF MARCUS AURELIUS, 175 CE Arch of Septimius Severus (203 CE) ARCHITECTURE Continued the legacy left by the earlier Greek architects Largely favored marble especially for state-funded projects. Some of the varieties used were Carrara marble came from Italy, Parian marble from Paros, Pentelic from Pont du Gard Athens, yellow Numidian marble (Middle of the 1st Century CE) from North Africa, purple Phyrgian from Turkey, red porphyry from Egypt, nd green-veined Carystian marble from Euboea Some notable architects were Apollodorus of Damascus, Hadrian, Severus, Celer, and Vitruvius Maison Carrée (16 BCE) Roman Composite - mixed the volute of the Ionic order with the Pantheon acanthus leaves of the Corinthian (113-125 CE) Roman Tuscan – a form of Doric column but with a smaller capital, more slender shaft without flutes, and a molded base JE.M | 11 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 THEATER ROMAN COMIC PLAYWRIGHTS SOCIO-CULTURAL CONTEXT LIVIUS ANDRONICUS By 146 BCE, Rome had conquered Birth of Roman literature Greece and absorbed its other He may have come to Rome as a territories prisoner of war but was later freed Romans were uninterested in Originally from Tarentum, a Greek theoretical questions, but they territory in Southern Italy were among the greatest Known for his tragedies more than engineers, military tacticians, and his comedies administrators Horace’s The Art of Poetry served GNAEUS NAEVIUS as a manual on writing good plays – five-act plays; teach and please; The first native playwright born in unity, grace and decorum Rome Began writing in 235 BCE REPUBLIC vs EMPIRE Known for his comedies more than his tragedies REPUBLIC Added Roman allusions into Greek 509-27 BCE originals and wrote plays on Discipline, economy, endurance, Roman stories military precision, loyalty Drama prospered TITUS MACCIUS PLAUTUS EMPIRE 27 BCE-476 CE First important successor to Livius Power from representatives to the Andronicus and Naevius in emperor comedy Drama was abandoned 130 plays were attributed to him The Comedy of Asses, The ROMAN FESTIVALS Merchant, The Braggart Warrior Admired for his Latin dialogue, Ludi – official religious festivals varied poetic meters, and witty Pompa – religious procession jokes Munera – honorary festivals Ludi Romani – oldest of the ROMAN TRAGIC PLAYWRIGHTS festivals in honor of Jupiter every September. The festival started in There were only three recorded 6th century BCE Roman tragedians from 200-75 Various types of performances – BCE: Quintus Ennius, Marcus 364 BCE; Tragedy and comedy – Ocuvius, Luccius Accius 240 BCE Fabula crepidata – tragedies based on Greek originals Fabula praetexta – tragedies based on Roman subjects JE.M | 12 ART APPRECIATION Prof. Davidson Oliveros | GEED 006 Actors specialized in one dramatic LUCIUS ANNAEUS SENECA form Actors in mime did not use masks Seneca’s works were the only ones to have survived from this period Famous for his works in philosophy and rhetoric The Trojan Women, Medea, Oedipus, Phaedra, Thyestes, Hercules on Oeta, The Mad Hercules, The Phoenecian Women, and Agamemnon Octavia - only surviving fabula praetexta ROMAN ACTORS Histriones – actors; Cantores – declaimers Male actors; Women performed in mimes The playwright left the production at the hands of managers Some actors belonged in guilds In the 1st century BCE, emphasis shifted to the “star” performer The most popular performers in late Rome were tightrope walkers, trapeze artists, jugglers, sword-swallowers, fire-eaters, and dancers ACTING STYLE IN TRAGEDY AND COMEDY Delivery in tragedy is slow, stately and declamatory; Delivery in comedy was conversational Proficiency in speaking, singing and dancing Movement in tragedy was slow and dignified; movement ; in comedy was lively Gestures and movement were considered enlarged JE.M | 13