AP Art History Chapter 5: Ancient Greece

Pediment

The triangular upper part of the front of a building in classical style, typically surmounting a portico of columns.

Archatic

Antiquated, old, out of use

Entablature

(Architecture) the structure consisting of the part of a classical temple above the columns between a capital and the roof.

Frieze

A broad horizontal band of sculpted or painted decoration, especially on a wall near the ceiling.

Centaur

A monster that had the head, arms, and chest of a man, and the body and legs of a horse.

Hippodamia Plan

A city plan devised by Hippodamos of Miletus ca. 466 BCE, in which a strict grid was imposed on a site, regardless of the terrain, so that all streets would meet at right angles.

Polis

A city-state in ancient Greece.

Satyr

A creature that is half-man, half beast, with the horns and legs of a goat.

Corinthian Capital

A more ornate form than Doric or Ionic; it consists of a double row of acanthus leaves from which tendrils and flowers grow, wrapped around a bell-shaped echinus. Although this capital form is often cited as the distinguishing feature of the Corinthian order, there is, strictly speaking, no Corinthian order, but only this style of capital used in the Ionic order.

Mosaic

A picture or pattern produced by arranging together small colored pieces of hard material, such as stone, tile, or glass.

Colonnade

A series or row of columns, usually spanned by lintels.

Volute

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

Caryatid

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

Contrapposto

A style of Greek sculpture where people are depicted standing and leaning so that the person's weight is being put on one side. People are depicted with their bodies curved like an "S"

Doric

Along with Ionian and Corinthian; distinct style of Hellenistic architecture; the least ornate of the three styles.

Amphora

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

White-ground painting

An ancient Greek vase-painting technique in which the pot was first covered with a slip of very fine white clay, over which black glaze was used to outline figures, and diluted brown, purple, red, and white were used to color them.

Krater

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

Kore

An archaic Greek statue of a young woman, standing and clothed in long loose robes.

Athena battling Alkyoneos

Athena battling Alkyoneos; Detail of the frieze from the Altar of Zeus; Pergamon, Turkey; ca. 175 BCE • Battle scenes of the altar have an emotional power unparalleled in earlier Greek art • Violent movement, swirling draperies, and vivid depictions of suffering fill the frieze • Faces of figures show pain and anguish

Diskobolos

CLASSICAL 480-400 BCE -artist: Myron -450 bc -tree trunk supporting the statue indicates a roman copy -still obsession of frontal view of a chest -natural-looking

Orchestra

Circular dancing place where actors and chorus performed.

Peplos Kore

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 the mold of static Archaic statues The object was lost to time (may indicate which goddess is depicted) Classical Egyptian stance (prior to Contrapasto) The facial expression alludes to unearthly wisdom, association with transcendence 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 the 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 the altar in Greek temple > Acropolis Kore often used to mark graves, were offerings to the gods (6th-5th c. B.C.E.) The 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

Great Altar of Zeus and Athena at Pergamon

Form: -marble frieze -elevated with steep dramatic staircase -complex forms with big muscles showing violent energy and detail -ionic columns Content: -frieze wrapping around the monument shows gods overpowering the Titans -Titans vs. Olympians -"Athena": gigantomachy, battle between the gods and giants (gods win) Function: -war monument (Greek defeat of Gauls) -break architectural boundaries -altar dedicated to ZeusContext: -175 BCE - Asia Minor, Turkey

Anavysos Kouros (Kroisos Kouros)

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 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

POLYKLEITOS - Doryphoros

Context: found in a palestra (a place for athletes to work out in) in Pompeii one of the most copied Greek sculptures Everyone wanted 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 a 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 its relative realism when compared to the Analysis 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 approx. 84 in. (213 cm.) Content: naked = celebrates the natural human body, its beauty, and its strength marks this as a Greek sculpture one of the earliest examples of contrapposto includes a strong sense of harmony and counterbalancing: left arm and right leg = relaxed right arm and left leg = tensed the man has broad shoulders and a 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: for enjoyment: to showcase the beauty of the human body Contrapposto 1:7 Ratio

Slip

Distance rocks move along a fault, as one block of rock moves past another.

Kritios Boy

Earliest known example of contrapposto, a relaxed and natural stance. Notice how his weight shifts to his left leg and how his head turns slightly to the right. Notice also the absence of an Archaic smile.

Grave stele of Hegeso

Form: -marble with paint -hierarchic scale -drape accentuates the body Function: -funerary object -put on graves in Classical period -commemorates the death of Hegeso Content: -genre scene: slave bringing jewelry box to nike figure for her to examine the jewelry -inscription identifies Hegeso Context: -410 BCE

Temple of Aphaia

Even double of the columns from the side. The perfect rectangle. The west side was completely archaic and the east side is completely destroyed.

Billingual Vases

Experimental Greek vases produced for a short time in the late sixth century BCE; one side featured black-figure decoration, the other red-figure.

KALLIKRATES - Temple of Athena Nike

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 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 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 Wet drapery on a goddess Very human theme Woman a Nike, the goddess of victory reaches down to fix the strap of a sandal relationship between drapery and the female anatomy

Niobides Krater

Form: -calyx krater (type of painted pot) -stiffness in the figures contrast the other relaxed side of the vase -sense of depth perception -red figure technique with white highlight Content: -one side: mortal woman named Niobe with 12 children would always brag to the goddess Leto that she had more children so Apollo and Artemis (Leto's children) take revenge for their mother by killing all 12 children -other side: Hercules (identified with club and lions skins) is actually a sculpture (contraposta) and Greek soldiers are offering tribute and prayer to protect them before going into battle Context: -460-450 BCE -not signed

Athenian Agora

Form: -long buildings (stoa) -covered places- public markets -at foot of Acropolis, the road that leads up Function: -marketplace/meeting area -temple (pay tribute to Athena) Content: -participated with government -democracy- didn't vote representatives but instead participated directly Context: -600-150 BCE -Athens, Greece

Winged Victory of Samothrace

Form: -marble -textures shown -very dramatic motion, explosive, -forward movement counteracted by the backward movement of her wings Content: -nike lands on front of ship descending from the heavens -wet drapery look to the sculpture -twist and contrapposto of the torso Function: -war monument -commemorating a naval victory -nike is a symbol of victory Context: - 190 BCE Hellenistic Greek

IKTINOS and KALLIKRATES - Acropolis

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 Content: Historians generally agree that this scene depicts the Panathenaic 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 Panathenaic 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 Panathenaic 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 Panathenaic 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 the 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

Detail of the Panathenaic Festival procession frieze, from the 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 Panathenaic 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 Panathenaic 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 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

IKTINOS and KALLIKRATES - Parthenon

Function: dedicated to Athena place of worship and importance symbol of wealth Context: top of a rocky outcropping overlooking city all cities had a hill the period was good for Athens so they built Parthenon high classic detailed huge a perfect incarnation of the greek ideal neoclassical birthplace of demo reforms allowed more people to let people participate in govt 50,000 citizens out 300-400,000 inhabitants Iquitos and kallikreins built the Parthenon 447-432 BCE around this time artists start 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 (stylobate) doric - capitals are simple doric - little flare that gives way to rectangular block abacus -- above triglyphs and metopes friezes on all four sides sculpture in pediments 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 trojans 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

Daedalic

Greek Orientalizing sculptural style of the seventh century BC named after the legendary Daedalus.

Acropolis

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

Kouros

Greek word for "male youth." An Archaic Greek statue of a standing, nude youth.

Seated boxer

Hellenistic Greek. c. 100 B.C.E. Bronze The sculpure shows both body and visage to convey personality and emotion. It shows transformation of pain into bronze, a parallel of recent photos of our contemporary Olympic athletes after their strenuous competitions.

Gigantomachy

In ancient Greek mythology, the battle between gods and giants.

Black-Figure Painting

In early Greek pottery, the silhouetting of dark figures against a light background of natural, reddish clay, with linear details incised through the silhouettes.

Red-figure painting

In later Greek pottery, the silhouetting of red figures against a black background, with painted linear details; the reverse of black-figure painting.

Erechtheion

Mnesikles. Caryatid - Porch of Maidens. A temple to Athena and Poseidon. The layout was very odd because it was built around a saltwater spring and an olive tree that were already there. It is Ionic. This is said to be where Athena and Posiden had their great battle over being the patron god of the Acropolis.

Hellenistic

Of or influenced by the Greek Empire. A type of culture typically referred to after the conquests of Alexander the Great.

Ionic

One of the two systems (or orders) evolved for articulating the three units of the elevation of a Greek temple: the platform, the colonnade, and the superstructure (entablature). The Ionic order is characterized by, among other features, volutes, capitals, columns with bases, and an uninterrupted frieze.

Alexander Mosaic (from the House of Faun)

Pompeii. Republican Roman. c. 100 B.C.E. Mosaic.

Riace Warrior

Riace Warrior; from the sea off Riace, Italy; ca. 460-450 BCE; bronze • Embedded eyes, silver teeth, and eye-lashes, and copper lips and nipples • The contrapposto is more pronounced than Kritios Boy • Hollow-casting= must be hollowed because bronze is expensive, heavy, and impractical. Clay mold (investment) of the statue was made, then hollow was on top... • Body is in the natural motion in space

Cella

The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood.

Canon

The collection of books the Church recognizes as the inspired Word of God.

Orientalizing

The early phase of Archaic Greek art (seventh century BCE), so named because of the adoption of forms and motifs from the ancient Near East and Egypt.

Nymphs

The immature form of insects that look like small adults without fully developed wings.

Caryatid

This caryatid is one of six elegant female figures who supported the roof of the south porch of the Erechtheion (figures who do the work of columns—carrying a roof—are called caryatids). The figure wears a garment pinned on the shoulders (this is a peplos—a kind of garment worn by women in ancient Greece). The drapery bunches up at the waist and pours over the belt. She stands in contrapposto with her left knee bent and pressing against the drapery The folds of drapery on the other right side resemble the fluting (vertical grooves) on a column. She looks noble and calm despite the fact that she carries the weight of a roof on her head

Helios and his horses, and Dionysos (Herakles?)

This sculpture set is placed within the east pediment. A pediment is the triangular section above the front or back of an ancient temple. It is a challenging space to fill with about 50 figures, 28.55 metres long with a maximum center height of 3.45 metres and the sloping down to the smallest cavity at the end of the triangle. The east pediment was heavily damaged when the Parthenon was transformed into a Christian church because the altar's apse was constructed in the east (to align with the rising sun). Although the east pediment is the only one part of the 250, I like to mention the narrative on the west pediment. It shows the contest between Athena and Poseidon for patronage of Athens (spoiler alert, Athena wins). Helios is the personification of the sun (only his arms and shoulder survive) is seen arising from the left suggesting the rising sun. To the right are the horses that pull his chariot in Greek mythology. The reclining male figure has been identified as either Dionysus (the wine god) or the hero Heracles (Hercules). Art historians debate if the figure is reclining with a glass of wine on a panther skin, which would mean he is Dionysus; or if he is reclining on a lion skin, which means he is Hercules. However the figure of Hercules would make no sense at the birth of an Olympian god. Instead of focusing on the attribution, the most important part of this figure, like much of Greek art, is the perfection of the male nude.

Tessarae

Tiny stones or pieces of glass cut to the desired shape and size to form a mosaic.

Flute or Fluting

Vertical channeling, roughly semicircular in cross-section and used principally on columns and pilasters.