Art History Test 2

Greek, The Kritios Boy, c. 480 B.C.E.

The marble Kritios Boy or Kritian Boy belongs to the Early Classical period of ancient Greek sculpture. (By Kritios) (Early Classical Period)

Kylix

a Greek drinking cup

The Great Pergamon Altar

(Greek) The Pergamon Altar was built about 150 BC on the Acropolis or the high point, of the ancient Greek city of Pergamon in Asia Minor. This colossal Altar of Zeus at Pergamon, near modern-day Izmir, Turkey, is a monumental work of Greek Hellenistic art.

Etruscan She-Wolf

(Romulus and Remus) 500 BCE, Etruscan Bronze and glass-paste eyes, AKA Capitoline Wolf Protective, associated with Roman legend about creation of Rome Stylized texture like Mesopotamia Engorged nipples, infants added by Antonio Pollaiolo in 15th Century

Parthenon

(The guide says it's Roman?) A temple dedicated to the goddess Athena

Aqueduct

A structure that carries water over long distances

Cerveteri

A town where in Etruscan times where all the tombs were, Necropolis

Greek: Hellenistic: Venus de Milo

An ancient Greek statue of Venus, famous for its beauty, though it's arms were broken off centuries ago. (Hellenistic)

Hydria

An ancient Greek three-handled water pitcher.

Amphora

An ancient Greek two-handled jar used for general storage purposes, usually to hold wine or oil

krater

An ancient Greek wide-mouthed bowl for mixing wine and water.

Iktinos

An architect of the Parthenon

Prostyle temple

An architectural style featuring a row of columns in front of a building, as in a portico

Phidias

Athenian sculptor who supervise the building of the Parthenon. built a statue of zeus at olympia was one of the seven wonders of the world

The Orientalizing Style:

From ca 725-650 BCE a new style of painting emerged, replacing the Geometric style in many areas. One of the foremost centers of production for this style was Corinth. In the Corinth this style is exemplified by registers of real and imaginary animals. The source of the decorative motifs on the pottery from this period can be traced to the arts of the Near East, Asia Minor, and Egypt. Spirals, rosettes and interlacing bands combine within the earlier geometric designs on many of the vases. Greek myths and legends often furnished the narrative subjects for these vase-paintings.

Arch of Titus, Rome

High Roman Empire 81 AD ‎Built for Emperor Domitian

Equestrian Statue of Marcus Aurelius

High Roman Empire, (gilded bronze) 175 CE

recessed coffers

In architecture, a "coffer" is a sunken panel in a ceiling, including the interior surfaces of domes and vaults.

Temple of Athena Nike, Acropolis

It's Roman A: Kallikrates and Iktinos Per: Ancient Greece D:447-424 BCE F: this is the temple devoted to Athena form: frieze along top tells of a marathon, glorifies people of Athens mat: marble, stone P: L: Athens, Greece C:

Colossal Head of Constantine

It's Roman, c. 312-315 AD

Exekias

Master painter of the Black-on-Red vase painting. Noted works were Dionysius in a Boat, Achilles and Ajax Playing a Game, and the Suicide of Ajax.

Corinthian Order

Most ornate of the orders- contains a base, a fluted column shaft, and the capital is elaborate and decorated with leaf carvings

Trajan's column

Roman triumphal column in Rome, Italy, that commemorates Roman emperor Trajan's victory in the Dacian Wars

Interior of the Pantheon - Rome, Italy

Roman--that domey boi with a circle cut through the top

Praxiteles

Sculptor - life sized statues that emphasized grace rather than power. (Aphrodite of Knidos)

Peripteral temple

Temple having columns on all sides

Veristic Portraiture

True to natural appearance; super-realistic.

Terra Cotta

baked earth; hard, brownish-red pottery

Battle of Issus (Alexander Mosaic)

by Philoxenos of Eretria. Ca. 310 BCE, ROMAN copy from the 'House of the Faun', Pompeii, Italy, late 2nd or early 1st century BCE

Ionic Order

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

Lekythos

flask containing perfumed oil; often placed in Greek graves as offerings to the deceased

pseudoperipteral

in Roman architecture, a temple with a series of engaged columns all around the sides and back of the cella to give the appearance of a peripteral colonnade

cella

the main room of a temple where the god is housed

trompe l'oeil

visual illusion in art, especially as used to trick the eye into perceiving a painted detail as a three-dimensional object

Praxiteles

Ancient Greek sculptor (circa 370-330 BC), a sculptor who lived after Phidias who sculpted figures that were more lifelike and natural in form and size.

Sarcophagus - painted terracotta, Italy

It's Etruscan (looks like some people on a bed--this was that whole thing where tombs were decorated like homes)

The Battle of Alexander and the Persians

It's Greek

Pericles

Athenian leader noted for advancing democracy in Athens and for ordering the construction of the Parthenon.

Archaic smile

the curved lips of an ancient Greek statue, usually interpreted as a way of animating facial features

Decumanus

the east-west street in a Roman town, intersecting the cardo at right angles

Temple of Poseidon

(But the guide says it's Roman????? Poseidon is the Greek name??? I am confusion) best preserved of all Greek temples, six columns wide and four columns long, it measures 25 times 60 meters. a double row of two storied columns divides the cella into a main and two narrower aisles

Lysippos

-LATE CLASSICAL PERIOD 400-323 BCE -late classical artist -artist of Apoxymenos (Scraper) -artist of Weary Herakles -changed dominance of frontal view & encouraged views from multiple angles -New canon of proportion (head)

High-Empire Roman Pantheon

118-125 C.E. (Lots of columns, big dome) Concrete with stone facing One of the great buildings in western architecture, the Pantheon is remarkable both as a feat of engineering and for its manipulation of interior space, and for a time, it was also home to the largest pearl in the ancient world.

Greek Classical Period

480-323 BCE

Helenistic Period

4th C. more genre subjects, and Romans built temples, roads, bath complexes, civic buildings, palaces, and aquaducts.

Acropolis

A fortified hilltop in an ancient Greek city

Basilica

A huge marble government building in ancient Rome

Chimera

A hybrid monster in Greek mythology with the head and body of a lion, as well as the head of a goat that was attached to its back, and a tail that ended on a head of a snake.

Sarcophagus

A large stone coffin usually decorated with sculpture and inscriptions

fibula

Ancient brooch used to hold cloaks up

Andokides Painter

Anonymous artist who is usually given credit for the invention of the red-figure technique as seen in the amphora of "Achilles and Ajax playing a dice game"

Polykleitos the Younger

Architect (possibly nephew of Polykleitos) Theater at Epidouros Corinthian capital (from a deteriorated tholos)

Iktinos

Architect of the Parthenon

Tumulus (plural: tumuli)

Burial mounds; specific to Etruscan architecture is the multi-chambered underground tombs carved from the living rock, a local tufa stone

Chapter 6: Etruscan

By the 8th century BCE, the Etruscans had established colonies in Italy, reaching the height of their power in the 7th and 6th centuries BCE, and controlling much of the western Mediterranean with their fleet. Toward the end of the 8th century BCE the Etruscans adopted the Greek alphabet and were prolific writers, but instead of writing from left to right, they wrote from right to left. The earliest account of the Etruscans is by Herodotus writing in the 5th century BCE. Herodotus believed that the Etruscans were Lydians, coming from Asia Minor to Italy in ca. 1200 BCE. Others claimed that the Etruscans were the descendants of the Villanovans, a people indigenous to Italy. Because of their vast commercial network, there are strong Etruscan cultural links between the Greeks, the Near East and Asia Minor. Much of our knowledge of the Etruscans is based on their tumuli and their contents. Etruscan tumuli were carved out of bedrock and replicated Etruscan houses, complete with chairs, beds, weapons, small animals, and household implements. While this practice of including objects for use in the afterlife can be seen in other cultures, most notably Egypt, the practice of carving replicas of the items into the stone and not using the items themselves is unique to Etruscan funerary custom. Etruscan tomb paintings often describe scenes of pleasurable daily life, with bright colors. These scenes often depicted banquets with musicians and dancer, possibly reflecting funeral games and were heavily influenced by Greek painting. The interpretation of these scenes is made difficult by our lack of information about the Etruscans and their beliefs about the afterlife. A terra cotta sarcophagus from Cerveteri dating to the Archaic period is shaped like a dining couch or marriage bed with a couple reclining on top. The sculpture has most recently been reconstructed with the couple holding eggs, symbolizing fertility and eternal life. Etruscan temple architecture is characterized by a tall podium on which the temple rests, a deep porch and often a tripartite cella in which Jupiter, Minerva, and Juno would be worshipped. Elements of Etruscan architecture would later be used by the Romans. Reconstruction of an Etruscan temple, as described by Vitruvius. The Etruscan city was laid out on a grid plan around two main streets which usually ran north and south (the cardo) and one running east and west (the decumanus). This system seems to be based on Etruscan religious beliefs in which the sky could be divided into regions according to the points of the compass. Etruscan cities generally sat on hilltops close to a navigable river or the sea. Very little of Etruscan architecture is still standing, since their houses and temples were built of packed earth and mud. This is a rare example. As with the Greeks the Etruscans were also highly skilled at bronze casting. This can be seen with the She-Wolf dating to ca. 500 BCE, now housed in the Capitoline Museum in Rome. Although many Etruscan works were destroyed, this work may have been preserved because it seemingly reflected the founding myth of Rome and the story of Romulus and Remus.

Statue of Augustus from Primaporta

Early Roman Empire 20 BCE Use of art as a public image POWER AND AUTHORITY Commanding, divine-like, ageless leader Contrapposto pose Ideal proportions based on Spear Bearer Hand raised in a gesture of command Cupid shows Augustus' divine lineage

Colosseum

Early Roman Empire A large amphitheater in ancient Rome where athletic events took place

Ara Pacis Augustae

Early Roman Empire Altar of Augustan Peace

Severe style

Early phase of Classical sculpture characterized by reserved, remote expressions

Vitruvius

Great Roman architect of the time of Augustus (27BC - 14 AD) who wrote 10 books on architecture

Kallikrates

Greek architect who constructed the Temple of Athena Nike and co-created the Parthenon

Pont du Gard at Nimes

Roman Aqueduct at Nimes

Bust of a Roman Patrician

Roman Republican: from Otricoli (ancient Ocriculum) and dates to the middle of the first century B.C.E. The name of the individual depicted is now unknown

Archaic Vase-painting:

The Archaic period dates from the mid-seventh century to ca. 480 BCE. Black and red figure style vases predominated during this period. The Doric and ionic orders emerged during this period. The Doric order is the oldest and the simplest. The Ionic order is named after Ionia, a region on the West Coast of Anatolia and the island off the Coast. Archaic kouroi and korai were highly stylized. The archaic kouroi are idealized with their arms rigidly to their sides and their left foot taking a step forward. Kouroi are always nude and have been found in a variety of contexts functioning as funerary markers and votive offerings. Both kouroi and korai are often depicted with an Archaic smile that is not reflected in the eyes. Archaic korai are also idealized, but they always appear clothed. Their feet are placed together. They often held a small object (a bird or a pomegranate) in their left hand. In Greek sculpture there is a general trend towards increased naturalism from the Archaic to the Hellenistic periods. This trend can be seen during the Archaic period as well when comparing the New York Kouros with the later Anavysos Kouros. Black-figure vase painting dates from the late 7th century BCE. Toward the end of the 6th century BCE red-figure vase painting was developed, gradually replacing black-figure between 520 and 500 BCE.

Early Classical Period:

The Early Classical period dates from ca. 480-450 BCE. This period in sculpture is known as the Severe Style since works from this period exhibit greater naturalism and do not have the Archaic smile seen in the earlier period. This increased naturalism can be seen in the contrapposto of the Kritios Boy and Doryphoros. Heavy, doughy, drapery is also characteristic of the Early Classical period, and can be seen in the pediment sculptures from the Temple of Zeus at Olympia. The Greek idea that nature can be ordered and idealized by human intellect was demonstrated by artists and architects of the Classical period. During the Early Classical period Polykleitos, who sculpted the Doryphoros, wrote a book entitled The canon (now lost) in which he established standards for the representations of the human body. Many Greek sculptures, with the exception of Archaic kouroi and korai and later bronze statuary, are Roman copies after lost bronze Greek originals.

The Geometric Style:

The Geometric style dated from ca. 1100-700 BCE. Early Geometric vase painting was highly abstract, with geometric designs. In Late Geometric vase-painting abstract human figures interact in narrative scenes. During this period there were several flourishing centers of pottery production, including those in Athens and Corinth. The various shapes of Greek vases were developed according to both purpose and aesthetic forms. The Dipylon amphora takes its name from the place where it was found - the cemetery just outside the Gate in Athens. This amphora functioned as a funerary monument for a wealthy woman. Holes in the base of the amphora allowed liquid libations to be poured into the vase and then into the earth below. The belly-handled amphora was typically used to house the female's remains in a funerary context, while the neck-amphora was used for storing wine or for the male's remains. In the Geometric style of vase-painting, human and animal forms are reduced to simple geometric shapes.

High Classical Period:

The High Classical period dates from ca. 450-400 BCE. The monumental building program for the Acropolis in Athens was funded by Perikles. The Parthenon, dedicated to Athena Parthenos, was the center of cult worship of Athena on the Athenian Acropolis. Contemporary building records indicate that Iktinos and Kallikrates oversaw the construction of the Parthenon and Phidias oversaw the sculptural program. Iktinos and Kallikrates employed a ratio of proportions in building the Parthenon, a formula which dictates that the flanks of the building be twice as long plus one as the facades. In addition to th ratio proportions, the architects also used architectural refinements including entasis, inclination and curvature. Because of the perfection of proportions and architectural refinements, the Parthenon became the gold standard for temple building from the High Classical period onwards.

Late Classical Period:

The Late Classical period dates from ca. 00-325 BCE. During this period there was a shift in emphasis in temple construction with a formalization of form. In the late 5th century we also see the development of the Corinthian capital, invented, Vitruvius tells us, by the metalworker Kallimachos. Corinthian columns were used in temple interiors originally and do not appear on temple exteriors until the 2nd century BC. Sculpture of the late Classical period shows increased naturalism. One of the most well-known works from this period is Praxiteles, Aphrodite of Knidos, commissioned by the people of Kos and ultimately purchased by the city of Knidos. Another hallmark of this period is a new interest in illusionism, which can be seen in Lysippos' Late Classical Apoxyomenos.

Chapter 7: Roman

The Roman Republican period dates from ca. 509-27 BCE. During this period Roman builders used Greek Doric, Ionic, and Corinthian orders of architecture and Greek prostyle plan, but they also employed new forms, such as the arch, and invented concrete which gave them increased flexibility in building forms. The potential of vaults and arches and the use of concrete was explored by the Romans in such buildings as the Colosseum and the Pantheon. Portrait sculpture from the Republican period tends to be veristic. The Imperial period in Rome dates from ca. 27 BCE-CE 395. A new trend in Roman portraiture emerges with the reign of Augustus in which the emperor is depicted as a youth. In Augusta art there is often a link to the emperor's divine ancestry, proposed by Virgil in The Aeneid. Modeled after Greek sculptures, such as the Doryphoros by Polykleitos, the Augustus of Primaporta carries various levels of meaning with the presence of Cupid referring to Augustus' relationship to Venus through his Trojan ancestor Aeneas, and his breastplate showing his victory over the Parthians. The emperor is depicted barefoot, which often denotes divine status. Much of what we know about Roman domestic architecture comes from our study of Pompeii and Herculaneum which were destroyed in the volcanic eruption of Mt. Vesuvius in 79 CE. Roman house and villas followed a regular axial plan, with rooms arranged along a longitudinal axis from the entrance, or atrium, to the peristyle courtyard. Late Roman portraiture moves away from the highly realistic busts of Republican and early Imperial Roman sculpture. During the late Roman Empire, we witness a new abstracted patterning that exalts an inner spiritual life rather than an exact portrait representation. The colossal head of Constantine, dating from the early 4th century CE, combines specific physical traits with abstracted features. Roman illusionist painting also known as tromp l'oeil (fool the eye) was indebted to an earlier tradition that developed in Greece. Like painting, mosaics originated in Greece but were common in Rome during the 1st and 2nd centuries CE.

Entasis

a slight convex curve in the shaft of a column, introduced to correct the visual illusion of concavity produced by a straight shaft.

Cardo

The north-south street in a Roman town, intersecting the decumanus at right angles

Doric Order

This Hellenistic style of column features simple, heavy columns without bases.

Encaustic

[especially in painting and ceramics] using pigments mixed with hot wax that are burned in as an inlay Origin late 16th century: via Latin from Greek enkaustikos, from enkaiein 'burn in,' from en- 'in' + kaiein 'to burn.'

Caryatid

a female figure that functions as a supporting column

equestrian statue

a large sculpture, usually of a man, astride a horse

oculus

a round opening at the center of a dome

Greek: Early Classical: Polykleitos, The Spear Bearer (Doryphorus)

one of the best known Greek sculptures of classical antiquity, depicting a solidly built, muscular, standing warrior, originally bearing a spear balanced on his left shoulder.

Hellenistic Period:

the Great in 323 BCE until the defeat of Cleopatra VII by Augustus following the Battle of Actium. Fueled by the philosophy of Aristotle, which emphasized keen observation of nature and a strict empirical approach to the study of the world, sculpture during the Hellenistic period displays a psychological and physical naturalism unparalleled in previous Greek art. Dramatic spatial involvement, dynamic movement, and everyday subject matter also characterize the sculpture of this period. The major centers of Hellenistic art production included Alexandria, founded by Alexander in Egypt in 332 BCE, the island of Rhodes, and Pergamon in Asia Minor. A great deal of our knowledge of Hellenistic painting is based on Roman copies in fresco or in mosaic. In the mosaic copy from Pompeii of the Battle of Alexander and the Persians, we witness a vivid and energetic activity so characteristic of Hellenist ar. In the frieze of the Great Pergamon Altar, we encounter an overt display of emotion with strong dramatic force and an exploding rhythm of the figures.