Greek Artwork

Anavysos Kouros

Anavysos Kouros, 530 B.C.E., Marble, 6' 4" (National Archaeological Museum, Athens) Context: 6th century B.C.E. Archaic period (700-480 BCE) First obtained iron Chisels in this period Iron, being much denser than anything earlier works were carved with, allowed the Greeks to carve out of harder stones like marble Unknown artist Found in the cemetery of Anavysos Grave marker for Kroisos Died in a war, "Slain by the wild Ares" Content: Slightly larger than life size roughly 6'4" Representation of ideal male youth gives the work its name "Kouros" literally means youth Form: Extremely idealized male figure very muscular and lean Egyptian style stance Tense and flexing his muscles Completely naked shows off the realistic and proportional anatomy Neatly Braided hair Function: A Kouros was very popular in ancient Athens Thousands were made and were used in a couple different ways Most commonly used as grave markers (like this particular Kouros) offerings to a god less common but as a representation of god, usually Apollo This Kouros was set up by aristocratic family as a grave marker for their son Is not a portrait but simply an idealized figure Anavysos Kouros is a transition for this type of work sculptures from earlier in the 6th century BCE were more abstract The focus on Realism indicates a society that revered the human form, and desired to understand the natural environment as a series of cause and effect arguments. Differed from the Egyptian statues in this way The only real similarities between the cultures is the body position

New York Kouros

Archaic Form- Marble, Naxian, unnatural posture Function- grave markers or dedication in the sanctuary of a god. Content- two important aspects of Archaic Greek art-an interest in lifelike vitality and a concern with design, symmetrical. Context- Archaic era

Kritios Boy

Archaic to early classical Form- marble, Function- more naturalistic posture than NY Kouros. Content- Contropossto Context- severe style, late archaic

Old Market Woman

Content: Old woman carrying baskets from the market Context: Hellenistic art deviated from the usual perfect canon of Classical art, so more veristic art like this was made.

Great Altar of Zeus and Athena at Pergamon

Form: 35.64 by 33.4 metres White marble remains; would've been painted brilliantly in its age High relief sculpture creates great drama, shadow, contrast More prominent gods and figures are in higher relief Function: Worship of the Greek pantheon of Gods and their dominance over their enemies Optimism of the Greek spirit in confronting the unknown and unfamiliar cultures (like the Giants) Representation of Greek prowess and might Sacrifices may have been offered at the top of the stairs Content: A battle of the Greek mythological pantheon of gods vs. the Giants to determine the controller of the universe Athena Fights Alkyoneus, the main giant, as his mother looks on in horror Appears confident and triumphant as she fights Being crowned from behind by a winged Nike Uses battle snakes to aid in defeating the giants Earned name Athena "gigantolteira" = slayer of the giants Zeus Battles 3 Giants at once, with the help of an eagle (above) and his lightning bolt Cloaked in realistically ruffled robes 2 of the three giants he has already defeated; they lie in (youthful) ruin around him Context: 1. Created during the Hellenistic Period (c. 200-150 B.C.E.) in Pergamon, modern-day Turkey, 20 miles from the coast. 2. Alexander the Great "Hellenized," or spread Greek influence, from Egypt to the Indus Valley during his reign. 3. When Alexander the Great died, his four generals inherited his land and reign. 4. One of the generals saw the hilltop of Pergamon as geographically desirable, and therefore built the city of Pergamon. 5. In the 1800s, the Prussians wanted to achieve/mimic French and British culture, so they created the Pergamon Museum. 6. The Pergamon Museum of Berlin recreated the Altar of Zeus and Athena at Pergamon very realistically (lots of artistic effort by the Museum.) 7. In ancient Pergamon, the altar would've been surrounded by a library of 200,000+ scrolls, a royal palace for the king, and a garrison for soldiers. 8. The altar was never fully completed because King Prusias II attacked Pergamon in 156 BCE.

Alexander Mosaic

FORM: -floor mosaic, 2.72 by 5.13 meters -made from more than one million and a half pieces of stone and glass -found in the House of Faun in Pompeii -possibly based on a wall painting done in 315 B.C.E., Hellenistic Period by a greek artist named Philoxenos because it matches a description of the painting written by Pliny -found on the floor between to peristyles (open courtyards) crowded by columns CONTEXT: -Republican Roman, c. 100 B.C.E. -found in the city of Pompeii which was preserved in ash after the eruption of Mount Vesuvius -it was found in the House of Faun, named after the bronze statue of a faun found there - wishful thinking on the part of art historians that it is based on a greek painting because there are none left - the Battle of Issus (333 BC) which was a turning point in ancient history because the ruler of Persia (Darius III) is ordering a retreat of his troops -Darius has a look of desperation, and history says that Alexander pitied his family and let them live -this piece's choice of subject matter and naturalism ultimately shows the Roman appreciation for greek art -Alexander is not depicted in his typical form here, as an incarnation of Zeus, Helios or Apollo with long ringlets and soft, idealized features, but is more natural CONTENT: -depicts the Battle of Issus, between Alexander the Great and Darius III -a very dramatic and chaotic scene with a sense of momentum as the massive chariot is turning around - Darius is turning his army around, his face with a desperate and, emotional quality, his hand extended in horror of his guard who has just been speared in front of him, a gesture preventing him from actually fighting and he is rather just taken aback -pretty empty at the top, considered evidence it was based on the painting -turned faces and bodies, show an understanding and respect for the human form and anatomy -excellent use of foreshortening in the horse -Foreshortening: used in art to reduce or distort (parts of a represented object that are not parallel to the picture plane) in order to convey the illusion of three-dimensional space as perceived by the human eye: often done according to the rules of perspective -incredibly detailed due to the use of so many pieces, one example being the soldier's reflection in his own shield -Alexander's breastplate has Medusa's head, which was used as a magical protection spell from evil, it also can symbolize divine birth -most, about 3/4 of the remaining mosaic depicts the Persians, but almost all their spears providing a line of focus to Alexander FUNCTION: -found in the House of Faun which was the nicest mansion found in Pompeii which means it was a piece of art aristocrats would have invested in for perhaps their own enjoyment and for the enjoyment of guests -the bronze faun statue found there suggests the owners cared much for art -the subject matter is significant, it depicts the god-like (think about his breastplate)breastplate, powerful, strong historical figure, Alexander who like the Romans, wanted to conquer the world, and had qualities of strength and military genius which would have been admired by Romans -Alexander's conquest notably lead to the unification of Greece, a culture the Roman's respected and imitated, the mosaic would have been a symbol of this respect, and almost a source of inspiration

Winged Victory of Samothrace

Form/Function: statue itself is over nine feet tall made of Thasian and Parian marble was found in the temple complex on the island of Samothrace called the Sanctuary of the Great Gods this was one of the principle Pan-Hellenistic sanctuaries associated with Mystery religion statue was an ex-voto (votive offering to a deity) most likely given by the people of Rhodes to commemorate a naval victory the offering would have also served to gain the deities favor, protecting sailors and armies against storms and enemies Context: currently resides in the Louvre, in Paris France was made around the 2nd century BCE during the Hellenistic period the sculptor is unknown the Hellenistic period followed the death of Alexander the Great when the Greek kingdom got split up, so the constant warring between city-states and other kingdoms increased the emphasis on Nike, who would spread the message of a victory would have looked out over the Parthenon in the sanctuary, with natural winds from the coast seeming to enliven Nike's clothes stands on the prow of a huge marble ship had huge impact on the traditions of Western Art that followed Content: depicts Nike, who was the messenger goddess of victory is missing her head and both arms, but may have been holding a trumpet or cupping her hand around her mouth to announce a naval victory "violent motion and sudden stillness meet" was meant to be viewed from three-quarters to the statue's right-hand side, evidenced because the other side is not as intricately carved gone is the stiff, more classical style of antiquity; in its place is a Hellenistic passion and voluptuousness texture is created in the intricate carvings of the wings she is not nude, but her clothing is coming off to reveal her body, which was typical for sculpture of the time the intense, intricate sculpting of her clothes, of how it drapes, adds to the sense of motion in the piece carved in extreme detail: we can tell where the cloth is thicker/thinner, and where it sticks to her skin because it is wet with sea water the way her body is sculpted creates a spiraling effect: her wings reach back, her chest forward, her feet down looking from the perspective from which it was meant to be viewed, follows the form of a right triangle (can see this in the picture on the bottom left)

Victory (Nike) Adjusting Her Sandal (Acropolis)

Form: Contrapposto (old greek art: one leg in front of the other) Chain Folds Pull of gravity Two other nikes or nikai Coaxing on animal to sacrifice Offering trophies to a military victory How it was made? Sculptures in stone--variety of chisels to chip away at the stone hammered blows at various angles to create their effects running drill permitted sculptors to create more expressive drapery effects Sculpture in high relief lends itself to expressive contrast effects--flat with ripples Modeling lines allow sculptures to create linear patterns in drapery reveal body beneath Content: Nike Adjusting Her Sandals Never been clear whether its been off or on (off because walking on sacred ground) Off balance Other leg is bent while also leaning forward Wing behind her left arm (two wings) Wing help her maintain balance *Contrapposto Intentional interest to make form out of balance Relationship between the body and the drapery--accentuated it Style of Phidias drapery that clings to the forms of the body and creates very intricate folds--cascading around it (Ex. three goddesses) In this specific sculpture=transparent Peaks giving a sense of the weight of the cloth *Chain Folds Woman: a Nike, the goddess of victory reaches down to fix the strap of a sandal relationship between drapery and the female anatomy Function: Temple of Athena Nike Constrained space Falling off--added railing 4ft tall--with figures: Parapet Faced the walkway up High relief with figures of Nikes (figures of victory/ goddess personification of victory) Context: Ionic Temple: Temple of Athena Nike A catenary is the curve a suspended line makes when hung in Greek sculpture=drapery effect created when a series of such lines are formed by fabric, often falling from the shoulders catenary pattern of parallel lines is an especially pleasing method of giving the drapery the springy qualities of actual fabric Typical of greek temples--sculpture of the goddess Athena Associated with victory and battle To show Athena's power...leading to her statue in the parthenon The Acropolis was home to several temples, one of which, the Ionic Victory against the Persian Empire (449 BCE) Peloponnesian War: Athens and its allies -vs- Sparta (Athens long time nemesis) and its allies (431-404 BCE)

Seated Boxer

Form: Rare Hellenistic Bronze original greek sculpture. Lost wax casting (hollow cast). Process by which duplicate metal sculpture is cast from an original sculpture. Copper used to depict wounds on face and hands. Seated posture. Made is different sections that were welded together Function: It has been suggested that the statue was attributed with healing powers. Represents the cultural shift of the Hellenistic period. Could have been a votive statue dedicated to a boxer. Some have identified him as the Boxer of Quirinal. Could be made to represent the culture of boxing in Ancient Greece Content: The humanity found in this work creates a sense of presence. Muscular, powerful, and defeated. His body serves a stark contrast to his hands and face. Covering his head and face is bits of copper which posed next to the bronze resembles blood, covering his face and hands with wounds. In contrast, his body is muscular and idealized, as typical ancient Greek art depicted men. This shows a connection to the original Greek art which is combined with the new emphasis on humanity and expanding the focus of art. His posture. By sitting with his torso collapsing inwards and his head down the look of defeat on his face is supplemented by this worn down posture. Even though his face is down his gaze is upwards. Sitting was not common is ancient Greek art so this was a deliberate attempt to convey humility and informality Context 100BCE: It was created during the Hellenistic period. Which was the last phase of ancient Greek art right after alexander the great and before the Romans took over. During this time Greek art was expanded to include a variety of art. Breaking away from the traditional idealized, heroic, male nude. The seated boxer embodies the culture shift of the Hellenistic period. Still holding onto the pre Hellenistic ideas his body is idealized with perfect muscle, but in contrast, his posture and face show humanity

Grave Stele of Hegeso

Form: Stele (upright slabs with relief sculptures) (like a modern day grave stone) 5'2" Marble and paint Function: grave stones Content: Relief sculpture of Hegeso and servant girl servant holds a jewelry box, and Hegeso hold and looks at a necklace now we cant see the necklace because it was painted on the stele and has worn off might represent a dowry drapery elaborate forms and swirls very close to her body She does not touch the ground her foot is on a pedestal Composition of the drapery Inscription on top says Hegeso, daughter of Proxenos Context: in the Dipylon cemetery in Athens 410 BCE: end of fifth century BCE (High classical moment) resurgence of funerary sculpture in Athens same time as the sculpture of the Parthenon and other buildings of acropolis Big time for public sculpture, but moving into private sculpture during period of democracy the state was the most important, nobles were not, sculpture showed that Hegeso woman domestic basically in a house on the stele: two walls and a roof not citizens of Athens women were defined by their relationships to men (daughter of __, or wife of __) noble, her family grave plot was super magnificent attributed to the sculptor Kallimachos

Plaque of the Ergastines, East Side Frieze, Parthenon

Form: fragment from the frieze on the east side of the Parthenon Pentelic marble 0.96 x 2.07 meters high relief (?) higher relief towards the to of the frieze shallower carving (bas-relief) towards bottom of frieze This is because people looked up at this sculpture, so the gradient depth made the sculpture visible from the angle from which it was intended to be viewed. "frieze," in this case, according to Khan Academy = a band of sculpture that's about 3 feet tall, that wrapped around the entire Parthenon, just inside the first colonnade. to view the frieze, visitors to the Parthenon had to look up frieze was originally located above columns, harder to see from the ground this indicates the Plaque of Ergastines was an important part of the sculptural program, but not the main attraction. would have been easier to see when painted with bright colors This frieze was originally painted in bright colors Paint faded or wore away with time, now plain marble This inner frieze is an Ionic element of the Parthenon, which is on the exterior, a doric temple isocephalism heads of figures are all aligned at same height Function: To impress the glory of Athens upon those who see it depicts a scene of the Pan-Athenaic Procession Dedicated to the goddess Athena, patron of the city of Athens Decoration/beautification of the Parthenon temple To tell a story that is relevant and important to the Parthenon/the Acropolis, Athens, and Athena Content: Historians generally agree that this scene depicts the Pan-Athenaic Procession people of Athens gathered in procession up to the Acropolis (highest and one of most important points in the city) procession was to honor the goddess Athena, the patron saint of the city of Athens, to whom the Parthenon was dedicated Who were the Ergastines? Young women from notable families brought peplos—a woven, dress-like garment worn by women—to clothe an olive-wood sculpture of Athena the olive wood sculpture does not survive today was not located in the Parthenon itself, but in an adjacent temple called the Erechtheion this ritual was part of the Pan-Athenaic procession frieze shows procession of the Ergastines, along with animals being brought for sacrifice; libations figures stand in contrapposto most women put weight in left leg, right knee is bent slightly in front fabric of dress hugs and drapes around the bent knee shows movement of figure and artist's mastery of naturalistic human form figures are serene, confident, relaxed, and graceful paragon of Athenian democratic ideal There is another theory that the scene on the frieze does not actually feature the Pan-Athenaic Procession, but a mythological event this theory is not commonly accepted by art historians however it does fit better with the usual greek focus on mythological subject matter Function: To impress the glory of Athens upon those who see it depicts a scene of the Pan-Athenaic Procession Dedicated to the goddess Athena, patron of the city of Athens Decoration/beautification of the Parthenon temple To tell a story that is relevant and important to the Parthenon/the Acropolis, Athens, and Athena Context: High Classical style (GOLDEN AGE) acute awareness of human figure, how drapery folds and hangs around the shape of the body very intricate, curvilinear folds and drapery of cloth Phidias was one of the leading sculptors of the period helped define the classical style the height of idealized beauty we see mastery of human anatomy life, movement, and emotion represented in these figures perfection of the athenian figures depicted on this frieze reflects the idealized "perfection" of Athens and athenian democracy Athenian Renaissance of sorts end of Greco-Persian wars (499-449 BCE) once greek states were secure from Persian threat, funds from Delian League being used for military defense were turned towards the rebuilding and beautification of Athens attracted many artists (especially sculptors) to the capitol city new temples were built, old temples renovated Mythology was the subject of the vast majority of ancient greek art this frieze is an exception the choice to represent a scene of civic importance rather than mythological is significant perhaps marks the nationalistic, pro-athens zeitgeist? in wake of the Athenian victory over Persia, artist(s) now view the athenian people as worthy of being immortalized in art (?) Current controversy: Greek government is trying to get these sculptures back from museums around the world some fragments are still in Greece, some at the Louvre, but most are at British Museum Greece wants them returned to their native country British originally procured the "Elgin Marbles" from the Ottomans, who were occupying Greece at the time both sides (greek government and british) are being very tenacious tense, controversial situation

Temple of Nike

Form: Ionic style, Amphiprostyle - 4 columns in the front and 4 in the back Context: Celebrates the Victory over the Persians at the Battle of Marathon

Amphora with Achilles and Ajax

Form: Krater, linear - one story/one register Function: To hold water or wine Content: Shape of men mimics amphora, subdued emotions, legs in reflective pose, Context: Achilles and Ajax are very concentrated, and in Greek culture, concentration is valued, Achilles rolls 4, Ajax rolls 3 and Achilles wins. This is ironic because Achilles ends up losing the war by dying.

Parthenon

Function: dedicated to athena place of worship and importance symbol of wealth Context: top of rocky outcropping overlooking city all cities had hill period was good for athens so they built parthenon high classic detailed huge perfect incarnation of greek ideal neo classical birth place of demo reforms allowed more people to let people participate in govt 50,000 citizens out 300-400,000 inhabitants Iquitos and kallikrates built the parthenon 447-432 BCE around this time artists started signing their work (not everyone but some people) Content/Form: trad greek temple (marble) - doric with ionic features doric - fluting vertical indentations on the columns doric - vertical lines doric - columns go straight into the ground (styloblate) doric - capitols are simple doric - little flare that gives way to rectangular block abacus -- above triglyphs and metopes friezes on all four sides scultpure in peidmonts and metopes 4 ionic columns inside temple parthenon contained giant sculpture athena frieze around building under — ionic on outside frieze maybe showed Panathenaic Procession religious procession for Athena at entrance had a story of athena vs poseidon athena gave the olive tree (peace and prosperity) poseidon gave a spring -salt water (naval superiority) metope showed battles both real and not greeks vs amazons greeks vs torjans greeks vs titans etc. frieze similar to stained glass windows in churches parthenon used to be full of color athena made of gold and ivory everything distorted to makeup for flawed perception

Acropolis

General Parthenon Info: Iktinos and Kallikrates are credited with the architectural design of the Parthenon artists begin to sign their names to their work for the first time in Ancient Greece move from artisans to artists Parthenon housed the treasury civic purpose rather than religious, ritual purpose written inventory discovered kept record of valuables Phidias responsible for Athena Parthenos (tall statue of Athena featured in interior of Parthenon) worship happened OUTSIDE greek temples at individual altars or smaller neighboring temples visible from far away, visual focal point of city symbol of ritual power and political power perfect proportions and harmony columns carved exactly the same entasis: slight bulge in the taper of the columns affect perfection by tricking the imperfect human eye allusion of perfection x=2y+1 was pretty well preserved for almost 2000 years only in the modern era that it became a ruin balance between theoretical and physical architects designed this building to elicit a specific response from the people who visit it

Lacoon and his sons

Hellenistic Form- Marble, dynamic, interactive Function- non conventional from classical period Content- Trojan priest and sons, agony and pain Context- Vatican, he tried warning Trojans about Greeks in wooden horse and was punished by goddess for it

Athenian Agora

High classical Form- place of government Function- public space in Athens, practice of democracy Content- sacred, stoa Context- main religious festival

Sleeping Satyr

Material/Technique: "sleeping satyr/drunk satyr"; has horns; members of the Dionysos cult; passed out, rough night; overtly sexual; nose thoughtfully done, as well as eyelashes; Pergamene manor; drunk fell asleep on a rock; brows are furrowed Function: antithesis to Classical ideals; decorative Context: Rome, Italy; now in Glyptothek, Munich Form- naturalistic Function- shows emotion that is non conventional in classsical period Content- sleeping, relaxed figure Context- depicting figure in natural form

Aphrodite From Milos

Material/Technique: Venus=Aphrodite; Very long torso; Hip is emphasized; Arms are missing; Scantily clad; Would've been holding golden apple=beauty; made of marble; right hand would've been holding the drapery; overtly sexual, but teases the viewer from the drapery of the garment Function: to honor Aphrodite Context: Melos, Greece Form: Contrapposto Content: Elegant pose, S curve, hands are holding apple and robe

Dying Gaul

Material/Technique: marble copies of bronze original; gauls shown as barbarians with bushy hair, mustaches, and neck bands, but also shown as courageous nobles; gaul dying on large oval shield; very dramatic- pain is shown in his face as he looks down; muscle is exaggerated; Function: mythological depiction Context: Museo Capitolino, Rome (replica) Ideas: drama and suffering is more pronounced than other Gaul sculptures

Niobides Krater

Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique (white highlights). Cross-Cultural Comparisons: - Beaker with ibex motifs - The David Vases - Martínez, Black-on-black ceramic vessel Content: - 2 sides - one side is of war almost - the other is more peaceful - kind of like the Standard of Ur? - Front: - Shows the story of a woman named Niobe - Niobe (a mortal woman) had 14 kids; 7 girls and 7 boys - She bragged that her kids were more numerous and more beautiful then the kids of goddess leto - Leto was the mother of Artemis (huntress) and Apollo (sun and music) - Artemis and Apollo exacted revenge for their mother by killing all of Niobe's kids (this is the scene on the front) - Artemis is reaching into her quiver for another arrow - Apollo is drawing his bow back - can see tension in Apollo's body and drapery - dead children litter the field - god and goddess are in perfect profile - Niobe's kids are more frontal - Back - Herakles (aka hercules) in the center (place of importance) - half mortal half god - holding a club and wearing a lion skin - his feet don't touch the ground - everyone is placed around him - Herakles is surrounded by warriors some standing some reclining - Athena (wisdom) is on his left - maybe it's not a painting of herakles but rather a painting of a statue of herakles - maybe greek soldiers are coming to honor him and ask for protection before they go into battle - 490 bce - greeks battle enormous Persian army and somehow won - maybe this is showing soldiers asking for protection before battle at Marathon - there could have been very faint lines that show Herakles on a podium - which would make sense bc statue of a god with men rather than a god amongst men Form: - figures are stiff - early classical - severe style - made of clay - red figure bc bodies are part of red clay pot and then black background — lots of detail allowed - in the past: greek vases before this had only one "line" - now figures occupy different levels - sense of an illusion of space - foreground and background but all figures are the same size - suggesting depth - might be a copy of a wall painting by Polygnotus - polygnotus painted in Athens and sanctuary of delphi (north of athens) - he was credited with the thought of being the first artist to paint figures in depth - no ancient greek wall paintings have survived Context: - Created during the classic period (look below for classic period pottery characteristics) Greek Pottery: - Made of terracotta (fired clay) - Methods : - Throwing - clay is centered on rotating wheel - While rotating, the potter pulls up the clay and forms it to the desired shape - Turning and Joining - trimming superfluous or uneven clay to refine the shape of a vase/reduce the thickness walls after it has been thrown - put on wheel -- wood, metal or bone tools used - Burnishing - used to create a perfectly smooth surface for painting - when clay is leather-hard - rubbed with a hard, smooth object, most likely made of leather, wood, or smooth stone - Each period of time had its own technique - Geometric Period (c. 900-700 B.C.E.) - geometric patterns - Orientalizing Period (c. 700-600 B.C.E.) - animal processions and Near Eastern motifs - Archaic and Classical Periods (c. 600-323 B.C.E.) - vase-paintings primarily display human and mythological activities - painted scenes should not be thought of as photographs that document reality - aid in reconstructing the lives and beliefs of the ancient Greeks - To produce the characteristic red and black colors - used liquid clay as paint (termed "slip") - 3 step process 1) kiln at 800 degrees centigrade - turns vase red 2) seal vents in kiln change temp to 900-950° centigrade- turns black; places with slip transformed into a glassy substance 3) vents reopened and unpainted zones become red again; slip / the painted areas retained a glossy black hue Red figure technique - invented in Athens around 525-520 BCE - inverse of black-figure - light-colored figures are set against a dark background - thick slip used to create "relief lines" to help outline - lines raised prominently from the surface White-ground technique - polychrome figures on a white-washed background Black figure technique - black figures with light background - developed by about 700 B.C. in Corinth - not adopted by vase-painters in Athens until about 620 B.C.E. - surface was first burnished and polished - ocher wash might have been applied for orange/red - burnished again - outlined design of the figures then filled in with black. - firing, incisions were made through the black gloss with sharp pointed tool show details of the figures - in the lighter color of the underlying clay Function: - Type of vessle: Calyx-krater: - Large punch bowl - used to mix water and wine

Peplos Kore from the Acropolis

Peplos Kore, c. 530 B.C.E., from the Acropolis, Athens, Greece (Acropolis Museum, Athens) Context: c. 530 B.C.E. Acropolis (ancient citadel on a hill) at Athens, Greece Artist unknown Content: Kore statue (young maiden) Most likely one of the maiden goddesses A peplos robe (not confirmed*) Arm extended with the intent of holding something, breaks mold of static Archaic statues Object was lost to time (may indicate which goddess is depicted) Classical Egyptian stance (prior to Contrapasto) Facial expression alludes to unearthly wisdom, association with transcendance and being above humanly emotion Form: Brightly pigmented paint Much of which still remains (red of the hair and eyes) Skirt formerly colored, designed with animals (such as the sphinx, horses, and possibly goats) Fine-grained Parian marble (white) Missing left arm Tightened waist Breasts revealed beneath drapery Rounded, naturalistic face Hair falls naturally on her figure (natural theme) Free-standing Function (*interpretations): To honor and depict a Greek goddess (likely Artemis) Place holder for altar in Greek temple > Acropolis Kore often used to mark graves, were offerings to the gods (6th-5th c. B.C.E.) Physical representation of a deity (specifically the goddess Artemis or Athena), which is the most likely option as she is clothed differently than all other korai found at the Acropolis

Doryphoros (spear bearer)

Polykleitos, Doryphoros (Spear-Bearer) or Canon, Roman marble copy of a Greek bronze, c. 450-440 B.C.E. (Museo Archeologico Nazionale, Naples) Context: found in a palestra (a place for athletes to work out in) in Pompeii one of the most copied Greek sculptures everyone want Greek art because it was representative of a luxurious and leisurely life + they were super high quality and when they raided, they got them for free! created at time when the Greeks were in awe of the mathematical perfection of the human body Polykleitos created a canon (a set of guidelines) outlining the ideal man based on ratios and measurements experts believe the Spear Bearer was made to represent the idealized version of the perfect Greek man (men should aspire to be him even though it's impossible) as outlined in Polykleitos' canon extremely significant because of it's relative realism when compared to the Anavysos Kouros shows an ever-advancing understanding of the human body depicted normal life, a sculpture of a man walking shows that human potential was/is hugely important to this society manipulated symmetry Form: made of white marble subtractive sculpture lifesize aprox. 84 in. (213 cm.) Content: naked = celebrates the nature human body, its beauty, and its strength marks this as a Greek sculpture one of the earliest examples of contrapposto includes a strong a sense of harmony and counterbalancing: left arm and right leg = relaxed right arm and left leg = tensed the man has with broad shoulders and thick torso and is just generally muscular used to hold an iron spear the face isn't individualized he's made to depict everyone's ideal self Function: or enjoyment: to showcase the beauty of the human body

Zeus or Poseidon

Zeus; from the sea off Cape Artemision, Greece; ca. 460-450 BCE; bronze • In this Early Classical statue of Zeus hurling a thunderbolt, both arms are boldly extended and the right heel is raised off the ground, underscoring the lightness and stability of hollow-cast bronze statues.

Discobolus

represents rationality.