Ch. 5 part 2

caryatid

a stone carving of a draped female figure, used as a pillar to support the entablature of a Greek or Greek-style building.

EPIGONOS, The Dying Gaul, 240 BCE; (Hellenistic)

A Pergamene sculptor depicted this defeated Gallic trumpeter and the other Gauls as barbarians with bushy hair, mustaches, and neck bands, but also as noble foes who fought to the death.

Parthenon (High Classical)

A large temple dedicated to the goddess Athena on the Acropolis in Athens, Greece. It was built in the 5th century BCE, during the Athenian golden age. -(Temple of Athena Parthenos) - Architects: Kallikrates and Iktinos; -Phidias

Volute

A spiral, scroll-like form characteristic of the ancient Greek Ionic and the Roman Composite capital.

ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons

ATHANADOROS, HAGESANDROS, and POLYDOROS of RHODES, Laocoön and His Sons, marble copy of Hellenistic original, 1st century BCE. -Hellenistic style lived on in Rome. Although stylistically akin to Pergamene sculpture, this statue of sea serpents attacking Laocoön and his two sons matches the account given only in the Aeneid everything about this piece speaks to the Hellenistic ideal. The facial expressions are exaggerated, the muscles fully flexed, dramatic movement is indicated, and strong diagonals dominate the composition.

ALEXANDROS OF ANTIOCH, Aphrodite of Melos (Venus of Milo) (Hellenistic)

Displaying the eroticism of many Hellenistic statues, this Aphrodite is more overtly sexual than the Knidian Aphrodite (fig. 5-62). The goddess's slipping garment teases the spectator.

Corinthian order(Hellenistic)

Most ornate of the orders- contains a base, a fluted column shaft, and the capital is elaborate and decorated with leaf carvings -most decorative, Capitals have flowers and leaves below a small scroll. The shaft has flutes and the base is like the Ionian. Unlike the Doric and Ionian cornices, which are at a slant, the Corinthian roofs are flat.

LYSIPPOS, Weary Herakles ("Hercules Farnese") (Late Classical Period)

Roman marble copy by Glykon of Athens after bronze original -Lysippos's portrayal of Herakles after the hero obtained the golden apples of the Hesperides ironically shows the muscle-bound hero as so weary that he must lean on his club for support. -Herakles is depicted as weary, and almost dejected. (in contrast to his previous depictions).

peristyle

Row of columns around a building or court -external colonnade on all four sides)

Panathenaic Procession frieze (High Classical)

a real event which took place every four years, where Athenians gathered in the agora (market place) and, among other things, carried a robe to the statue of Athena , low relief inner frieze of the Parthenon, marble,

Ionic order(Classical)

classical Greek architectural style that features a fluted column shaft, capitals with volutes (spiral scroll-like ornaments) and a large base

amphiprostyle

classical temple plan in which the columns are placed across both the front and back, but not along the sides -—A classical temple plan in which the columns are placed across both the front and back but not along the sides. (115)

The Birth of Athena (High Classical)

(left half): Helios with horses, Dionysos, Kore, Demeter and Hebe, east pediment of the Parthenon, marble, ca. 438-432 BCE;

Niobe Painter (High Classical)

-Calyx krater showing Artemis and Apollo Slaying Children of Niobe -"Niobid Painter" was bestowed upon him because of the content of his imagery. -Niobe, who had at least a dozen children, had boasted that she was superior to the goddess Leto who had only two offspring, Apollo and Artemis. To punish Niobe's hubris (arrogance), and teach the lesson that no mortal could be superior to a god or goddess, Leto sent her two children to slay all of Niobe's children.

APOLLONIUS, Seated Boxer, from Rome, Italy, (Hellenistic)

-Even when Hellenistic artists treated traditional themes, they approached them in novel ways. This bronze statue depicts an older, defeated boxer with a broken nose and battered ears. -but rather a heavily battered, defeated veteran whose upward gaze may have been directed at the man who had just beaten him.

Propylaia, Acropolis, Athens, Greece, 437-432 BCE (High Classical)

-Mnesikles disguised the change of ground level by splitting the Propylaia into eastern and western sections. Each facade resembles a Doric temple but with a wider space between the central columns. -This building acts as the monumental entrance to the acropolis or "high city". Chariots and animals of the Panathenaic Festival would take their path into the acropolis by way of the two central columns of the Propylaia. To either side of the central ramped causeway were sets of stairs for the pedestrian traffic. -It had an art gallery -It wasn't completely finished

Temple of Athena Nike (High Classical)

-architect,Kalikrates. Ionic temple that Greets visitors to the sanctuary. Celebrates Athena as bringer of victory against the Persians at marathon. The young Nike's Image is repeated dozens of times. 427-424 BCE -The Ionic temple at the entrance to the Acropolis is an unusual amphiprostyle building.

Praxiteles, Aphrodite of Knidos (Late Classical Period)

Aphrodite of Knidos, Roman marble copy -This first nude statue of a Greek goddess caused a sensation. But Praxiteles was also famous for his ability to transform marble into soft and radiant flesh. His Aphrodite had "dewy eyes." -Humanizing the gods-Female nudity was extremely rare in Greek art, and even more rare is a depiction of a goddess in such a manner.

pinakotheke

Greek "picture gallery"; ancient building for the display of paintings on wood panels -In Roman times it housed a pinakotheke (picture gallery). In it were displayed paintings on wood panels by some of the major artists of the fifth century bce. It is uncertain whether this was the wing's original function. If it was, the Propylaia's pinakotheke is the first recorded structure built for the specific purpose of displaying paintings, and it is the forerunner of modern museums.

Acropolis

Greek for "high city". The chief temples of the city were located here.

Hubris

To punish her hubris (arrogance) and teach the lesson that no mortal could be superior to a god or goddess, Leto sent her two children to slay all of Niobe's many sons and daugh- ters. -Niubid painter

The Great Altar of Zeus, Pergamon (Hellenistic)

The gigantomachy frieze of Pergamon's monumental Altar of Zeus is almost 400 feet long. The battle of gods and giants alluded to the victory of King Attalos I over the Gauls of Asia Minor. -The subject is the battle of Zeus and the gods against the giants. It is the most extensive representation Greek artists ever attempted of that epic conflict for control of the world. -Violent movement, swirling draperies, and vivid depictions of death and suffering are the norm Wounded figures writhe in pain and their faces reveal anguish.

stylobate

The uppermost course of the platform of a Greek temple, which supports the columns. -(level on which columns stand)

frieze

ornamental horizontal band on a wall

chryselephantine (High Classical)

fashioned of gold and ivory -—Phidias's Athena Par- Nthenos, a colossal gold-and-ivory (chryselephantine) statue of the virgin goddess. Art historians know a great deal about Phidias's lost statue from descriptions by Greek and Latin authors and from Roman copies. A model (fig. 5-46) gives a good idea of its appear- ance and setting. Athena stood 38 feet tall, and to a large extent Iktinos designed the Parthenon around her. To accommodate the statue's huge size, the cella had to be wider than usual. This, in turn, dictated the width of the facade—eight columns at a time when six columns were the norm

Lysippos, Apoxyomenos (Scraper) (Late Classical Period)

marble (Roman copy of Hellenistic bronze) -Lysippos introduced a new canon of proportions and a nervous energy to his statues. He also broke down the dominance of the frontal view and encouraged viewing his statues from multiple angles -Interaction with the space of the viewer - A new canon of proportion emerged with Lysippos that sought a more slender body and smaller head than that of Polykleitos

The Erechtheion (High Classical)

temple on the Acropolis (caryatids porch) - south porch of the Erechtheion features caryatids with contrapposto stances. They are updated versions of the Archaic caryatids of the porch of the Shipinian Tresury