Art History (Week 3 Archaic & Early Greek Art & Architecture), Art History (week 3 Prehistoric and Bronze Age Aegean Art), Art History (Week 4 Late Classical Greek Art), Module 15: The Hellenistic Age, Hellenistic Period 323-30 bc, Late Classical Per...

Dying Gaul

Name: Dying Gaul Date: 230-220 BCE Period/Style: Hellenistic Artist/Architect: Epigonos? Patron: 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

Grave stele of a young hunter

Name: Grave stele of a young hunter Date: 340 BCE Period/Style: Late Classical Artist/Architect: Skopas of Paros Patron: Material/Technique: relief is higher, parts of the figure carved in the round; depicts overt mourning, heads (young boy and dog) dropped in sorrow, father leans in with stick; hunter looks out at viewer Old man mourning his son Function: narrative to depict intense emotion Context: found near the Ilissos River in Athens Ideas: High classical period depicted works that created emotional bridge between the art and the viewer

Nike of Samothrace

Name: Nike of Samothrace Date: 190 BCE Period/Style: Hellenistic Artist/Architect: Patron: Material/Technique: "Winged Victory"; top of staircase in the Louvre; standing on representation of boat; crowning victory; Athena's partner is Nike; Reliefs; Very realistic; Wind hitting her body; Made of marble; very theatrical; Function: to honor Athena/Nike Context: Samothrace, Greece Ideas: rejection of Polykleitan conception of being very idealized; Hellenistic statues interact with environment

Temple of Zeus

Olympia, c. 470-460 B.C.E. Does not survive intact (fallen Doric columns) Symbol of Greek victory over Persians. 6 x 13 columns (common build), contains gold sculpture

Lysippos

One of the great Late Classical sculptors; works included weary Herkales and Apoxymenos, attributed works that were "engaging" and meant to be looked at in multiple view points

Nike Adjusting Her Sandal; Classical (ca. 410 BCE)

One of the many panels that made up the parapet (railing or low wall) surrounding the temple of Athena Nike on the Acropolis. Nike reaches down to her sandal, using her wings to maintain balance.

Aphrodite of Melos

early pornography, sexual acts with posture, face no emotion

Hellenistic

emotional/expressive

atrium

entrance

Black Figure Pottery

especially common between the 7th and 5th centuries BCE. Figures and ornaments were painted on the body of the vessel using shapes and colors reminiscent of silhouettes. Delicate contours were incised into the paint before firing, and details could be reinforced and highlighted with opaque colors, usually white and red.

Figures from east Pediment of the Parthenon

exemplifies classical sculpture

*Repousee

formed in relief by beating a metal plate from the back , leaving the impression on the front

Agora

heart of ancient city (Akropolis)

Aphrodite of Melos

hellenistic. Ideal erotic beauty (also called Venus de Milo). C. 150 BCE. Marble, height 6'10" (2.1 m). Louvre, Paris.

stucco relief

imitating marble blocks

Hellenistic Statues

interact with environment

Triglyph

Rectangular block between the metopes of a Doric frieze. Identified by the three carved vertical grooves, which approximate the appearance of the end of a wooden beam

Temple of Zeus: East Pediment with chariot race of Pelops

Show's Zeus in the center, clothed people and the bodies and clothing are simplified and not detailed. Contains a non-idealized man. It is the pediment over the entrance of the temple

Parthenon: Metope with Centaur

South side of the Parthenon, man beating beast

Doryphoros or Spear Thrower

Spear Thrower, early classical, 440BC, Polykleitos, copy from bronze original canon proportion 1/7, contrapposto. , Statue that is recognized because of its embodiment of human beauty b/c of ordered proportions, fine muscle tone and rugged features.

Bronze Riace Warrior

The Bronzi di Riace or Riace Warrior (Young Warrior), found in the sea off Riace, Italy. Bronze with bone and glass eyes, silver teeth, and copper lips and nipples, 460-450 BCE.

Doric Column

The Doric column is the oldest and simplest Greek style--its found on the Parthenon in Athens. This column features fluted sides, a smooth rounded top, or capital, and no separate base.

Corinthian capital

The most ornate of the three main orders of classical Greek architecture, characterized by a slender fluted column having an ornate flared capital decorated with acanthus leaves.

Cella

The principal interior room at the center of a Greek or Roman temple within which the cult statue was usually housed. ALso called the naos

Capital

The sculpted block that tops a column. According to the conventions of the orders, capitals include different decorative elements.

pronaos

The space in front of the cella, or naos, of an ancient Greek temple

Kritios Boy; Kritios; Classical (ca. 480 BCE)

The transitional figure between late Archaic and early Classical art. Original Greek marble sculpture in contrapposto; standing still, but with potential for movement. Missing arms, right calf, and feet.

Pediment

The triangular space (gable) at the end of a building, formed by the ends of the sloping roof above the colonnade.

stylobate

The uppermost course of the platform of a Greek temple, which supports the columns.

Cornice

The uppermost section of a Classical entablature. More generally, a horizontally projecting element found at the top of a building wall or pedestal. A raking cornice is formed by the junction of two slanted cornices, most often found in pediments

*Foreshortening

The use of perspective to represent in art the apparent visual contradiction of an object that extends back in space at an angle to the perpendicular plane of sight

How was this treatment [in archaic & Early Classical Periods] reflective of Greek cultural and aesthetic ideals?

The very even proportions an ancient Egyptian body style reflect that the Greeks had very high standards when it came to aesthetic ideals. they wanted to portray images close to perfection by making things very proportional and more naturalistic?

How do we see Nike of Samothrace interact with her environment?

The wind is blowing back her cloths, you get a sense of movement

Weary Herakles ('Farnese Herakles')

by Lysippos. Roman marble copy after a bronze original of Ca. 320 BCE. Late Classical Greek.

Aphrodite of Knidos

by Praxiteles. Roman marble copy after a marble original of Ca. 350-340 BCE. Late Classical Greek.

Stele of Hegeso

c. 400 B.C.E. Hegeso is the woman in the image. She is shown in her home (where women belonged during that time). Both women in the image are clothed, and idealized.

Mnesikles, Propylaia

c. 437-432 B.C.E. (Artist Mnesikles) Propylaia = gateway, to the new Akropolis. Contains stairs for people, as well as a ramp where animals would have been brought up for sacrifice. Also Contains an unusual double pediment, Doric outside and Ionic columns inside

Ikinos and Kallinates, Parthenon

c. 447-438 B.C.E. More slender columns, room with 4 columns in it (ionic) continuous ionic frieze, built incredibly speedily. 8 x 17, based on 9:4 proportion system, all columns tip slightly inward.

Polykleitas, Doryphoros

c. 450-440 B.C.E. (Artist Polykleitas) Important because it contains fully developed controppasto, and is based on a system of proportions the details of which are uncertain

Kroisos

c. 530 B.C.E. Similar to Kouros (grave marker, full grown man). Fuller bodysoldier cut down in battle. More realistic, smaller head and more defined muscle groups

Temple of Here I (Basilica)

c. 550 B.C.E. Italy, longer than most Doric temples. Unique because the front and back are composed of 9 columns, an uneven number that would impose upon the view of the statue inside the temple. This syle did not last long

Temple of Artemis, Corfu

c. 600-580 B.C.E. Made completely out of limestone (does not survive). Sculpture shows Medusa, Pegasus and a small man.

Siphnian Treasury, Delphi

c.530 B.C.E. Would contain offerings to the gods. Ionic, has Caryatids

naos

cella, a room with no windows that usually housed the cult statue of the deity

Ionic capital

characterized by the use of volutes. The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform; the cap is usually enriched with egg-and-dart.

Entasis

cigar shaped columns (go up in a curved, non straight shape). Doric Order

basilica

court of law

Winged Nike of Samothrace

crowning victor of naval battle, rejected ideal proportions

Baroque

dark carvings, dark shadows

Red Figure Pottery

developed in Athens around 530 BCE and remained in use until the late 3rd century BCE. name is based on the figural depictions in red colour on a black background.

foyer

"jaws" of the house

Sunken relief

(Art Terms) a relief sculpture in which the highest point in the carving is below the level of the original surface.

Temple of Aphaia, Aigina

(Location: Aigina) c. 500-490 B.C.E. Island of the coast of Athens. Doric temple, 6 x 12 columns (uncommon)

Ziggurat

(in ancient Mesopotamia) a rectangular stepped tower, sometimes surmounted by a temple

Kore

(pl. Korai) Greek for "young woman". An archaicGreek statue of a young woman.

Kritios Boy

*(early) high classical period *Ancient Greek (culture) *from the Acropolis, Athens, Greece,(location) *ca. 480 BCE, *Marble 2'10" 1.) his body is positioned as controposto , which indicated that he is a real human being that can exhibit emotions 2.) This was the first statue to depict the person as how a person naturally stands, with the archaic smile and head tilt gone

Exekias, Achilles, and Ajax Playing a Dice Game

*Archaic (period) *Ancient Greek (culture) *Athenian black-figure amphora, *ca. 540-530 BCE, *ceramic 1.)this piece is supposed to illustrate "the calm before the storm", they are obviously warriors who set some time aside to play a game of dice but their armor and gear is nearby as if to be ready in case they must return to the battle field 2.) This is an example of a black-figure painting, you can tell because the figures are black and their background is the color of the original clay used to make the vase

Kroisos

*Archaic period *Ancient Greek (culture) *Anayysos, Greece, (location) *ca. 530 BCE, *Marble , 6'4" high 1.)Influenced by traditional Egyptian sculpture , as seen in the rigid , frontal stance and general lack of body movement 2.)images of kourous figures (Greek for Youth) were used as grave markers for individuals to commemorate fallen warriors or athletes

Lion Gate from Mycenae

*Bronze age (period) *Greece(location) *Mycenaean (culture) *Limestone(material) *Ca. 1300-1250 BCE. 1.) The largest sculpture in prehistoric Aegean is the relief of confronting lions that fills the relieving triangle here 2.) This is an example of a corbel led arch

Funerary Mask ('Mask of Agamemnon') From Grave Circle A

*Bronze age (period) *Mycena(culture) *Greece (location) *Gold repousee. (type) *Ca. 1600-1500 BCE. 1.) this was formed in relief by bearing a metal plate from the back, leaving the impression on the front 2.) No one knows whether or not these masks were intended to be portraits , but the masks in grave circle A portrayed both youthful faces and more matured ones like the ones we see here

Bull Leaping from Palace of Knossos

*Bronze age (period) *Crete (location) *Minoan (culture) *Fresco(type) *Ca. 1400-1370 BCE. 1.) This is depicting the Minoan ceremony of bull-leaping, where a young man would grab the bull by the horns in order to vault over its head 2.) The characters in this fresco are highly stylized with features like the Minoan pinched waist

Aphrodite of Knidos

-LATE CLASSICAL PERIOD 400-323 BCE -ARTIST:Praxiteles -TIME:350-340 bc -important bc goddess is nude for the first time -Roman marble copy first time goddess is nude (erotic), goddess of sexuality, celebrate divinity, clothes and unclothed statue

Grave stele of young hunter

-LATE CLASSICAL PERIOD 400-323 BCE -Athens, Greece -340-330 bc -emotions are portrayed -high relief, some are no relief -statue looking forward unlike Stele of Hegeso which is from 400 bc

Praxiteles

-LATE CLASSICAL PERIOD 400-323 BCE -artist of Aphrodite of Knidos -artist of Hermes & Dionysos

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

Name two subject matters used in Etruscan paintings.

-Mythology -Animals -Scenes of everyday life

Name two characteristics of Etruscan sculpture.

-Sculpture in the round -Archaic smile -Stylized hair -Large eyes -too life like

How was the human figure represented in the archaic and early Classical periods?

-They often had the same stance as the Egyptian statues of the Old Kingdom, with a very stiff, rigid frontal stance & one foot forward (ex, the Kouros figures) -They were very proportional -arms beside the body -Some were more naturalistic, (like Kroisos) but others had less anatomically correct muscular features (simply a V shape indicating muscles, but not the actual muscles

What does the actual layout of the palace tell us about Minoan society?

-They were island-dwelling, sea-faring people. Conducted extensive trade with Egypt and Mesopotamia/ -They had a stratified society (various classes, although their artwork gave us little information about their social structure

Third Style

-background is always a darker, solid color -very thin lines

Second Style

-creating a mythological atmosphere -all about allusion -walls are painted to look like outside -landscapes, buildings, nature -painters did not aim to create the illusion of the marble wall

First Style (Masonry Style)

-decorators aim was to imitate marble blocks using stucco relief -greek origin

How would you characterize the Minoan figural style as seen in the frescoes from Knossos?

-it is art for art's sake, has no religious/political meaning -darker skin usually meant a male, lighter skin was female - the figures have stylized shapes, with Minoan pinched waits -They have long,curly hair and proud self-confident bearing -they aren't as angular as what we see in Egyptian art, their curved edges suggest elasticity of living/moving beings

The concrete revolution

-made from lime mortar, volcanic sand, volcanic ash (pozzolona) -cheap -stronger than stone -easier to work with than stone -lighter -pour into wooden molds to dry -barrel vaults, groin vaults, domes

Fourth Style

-mix of all 3 styles in one room -sometimes a portrait of a house owner

Chryselephantine sculpture

-type of figural sculpture in which the flesh was made of ivory and gold -Greek: chrysós means gold and elephántinos means ivory

What were various functions of kouros statues?

-were used as grave markers for individuals -used to commemorate fallen warriors or athletes

Classical period

480-400 BCE

Red Figure (Greek Vase painting)

A style and technique of ancient Greek vase painting characterized by red clay colored figures on a black background. (The figures are reversed against a painted ground and details are drawn not engraved as in the black figure style)

Black figure (Greek vase painting)

A style or technique of ancient Greek pottery in which black figures are painted on red clay ground

White Ground (greek vase painting)

A type of ancient Greek pottery in which the background color of the object is painted with a slip that turns white in the firing process. Figures and details were added by painting on or incising into this slip. White ground wares were popular in the classical period as funerary objects

Dying warrior

Archaic (500-490 BCE) • From the temple of Alphaia • Warrior dying fits neatly into the corner of the pediment • Hair in rows of tight cords • Rigid musculature • Pose of the crossed legs is awkward and unnatural, especially given the life-and-death struggle the dying warrior is undergoing • Archaic smile

Name two materials found in abundance in the region of Etruria.

Bronze and iron

Seated Boxer; Hellenistic (ca. 100-50 BCE)

Bronze original made using cire perdue method. This sculpture has inlaid copper in its face to highlight the redness of his wounds. He is muscular, but sits in a defeated posture and has noticeable wounds (swollen ear, broken nose, cuts).

Siphnian Treasury

Built by wealthy (gold mines) isle of Siphnos at Delphi before 525 (when Siphnos overrun by pirates), making it crucial fixed point in Delphi's chronology. Small marble ionic temple with caryatids (korai for columns) two different sculptors of friezes one set (simpler) shows battle of Achilles and Memnon, and gods weighing their souls the North (most important) shows gigantomachy, with different levels, foreshortening, etc. illustrate continuing stress between nobility (epic ideals) and commonality

Apollo

CLASSICAL 480-400 BCE (center figure) -west pediment of Temple of Zeus -470-456 bc -Olympia, Greece

plan of Parthenon Temple

CLASSICAL 480-400 BCE -Acropolis, Athens, Greece -447-432 bc -architects: Iktinos & Kallikrates believed harmonic proportions produced beautiful buildings -destroyed by Persian invasion -figural reliefs in all 92 Doric metopes and inner 524 ft sculptured ionic frieze

Zeus

CLASSICAL 480-400 BCE -Italy -460-450 bc -boldly extends both arms & raises right heel off the ground, underscoring the lightness & stability of hollow-cast bronze statues

Riace Warrior

CLASSICAL 480-400 BCE -Italy -460-450 bc -bronze -a masterpiece of hollow-casting which is done using the lost-wax method -contrapposto more pronounced than Kritios Boy -natural motion has replaced archaic frontality and rigidity

Temple of Zeus

CLASSICAL 480-400 BCE -Olympus, Greece -built from 470-457 bc -architect: Libon of Elis -first great monument of classical art & architecture -Doric -destroyed today

Diadoumenos

CLASSICAL 480-400 BCE -Polykleitos- liked to work with fit bodies to reflect perfection -440-430 bc

Pericles

CLASSICAL 480-400 BCE -artist: Kersilas -429 bc -classical greek portraits were idealized images in which humans appeared godlike

Diskobolos

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

Doryphoros (Canon)

CLASSICAL 480-400 BCE -artist: Polykleitos -450-440 bc -roman copy of bronze statue -goal was to create the perfect man through harmonic proportions & a system of cross balance for all parts of the body

Kritios Boy

CLASSICAL 480-400 BCE -athens -480 bc -contrapposto- weight shift- used to emphasize normalization

East pediment of the temple of zeus

CLASSICAL 480-400 BCE -depicts legendary chariot race across the Peloponnesos to Corinth

Dying warrior east

CLASSICAL 480-400 BCE -east pediment of Temple of Aphaia -480 bc -more natural than west side

Seer

CLASSICAL 480-400 BCE -from east pediment of temple of zeus -470-456 bc -rare description of old age in classical art -true show of emotion which isn't a regular feature of greek art until Hellenistic age

Polykleitos, Doryphoros (Spear Bearer)

Date: 450 BCE Period/Style: Classical Artist/Architect: Polykleitos Patron: N/A O Location:Pompeii, Italy Material/Technique: ideal statue of nude male/athlete; culmination of Greek statuary; contrapposto: right arm and left leg relaxed, head turns to the right, hips twist to the left; dynamis asymmetrical balance Function: depict human movement; Imposes Polykleitan style: to perfect human movement, harmonic proportions, cross balance Context: best replica in Pompeii, Italy Descriptive terms: idealistic, detailed, perfect

East Pediment from the Temple of Zeus

Date: 470-456 BCE Artist: N/A Period/Style: Early/ High Classical Patron: N/A O Location: Olympia,Greece Material/Technique: marble Function: decoration? Context: chariot race between Pelops and King Oinomaos Descriptive terms: detailed, treachery, curse

Kritios Boy

Date: 480 BCE Period/Style: Early Classical Artist/Architect: N/A Patron: N/A O Location: Athens, Greece Material/Technique: made of marble; hair is stylized; slight dip to right hip, right leg is bent, head is slightly turned to the right- contrapposto (weight shift)- separates Classical from Archaic Greek; archaic smile is gone Function: decorative, depiction of boy Context: Athens, Greece, now in Acropolis Museum, Athens; Once thought the sculptor Kritios carved it Descriptive terms: plain, simple, white, realistic proportions

Peplos Kore

Date: 530 BCE Artist: unknown sculptor Period/Style: Archaic period Patron: a maiden, or a goddess like Athena herself. votive offering. Location: Acropolis, Athens, Greece Material/Technique: marble. sculpted wearing a peplos (simple, long woolen belted garment that gives the appearance of a column). Drapery concealed her entire body, the softer treatment of the flesh sharply differentiates later korai from contemporary kourai. The light linen Ionian chiton worn with the himation (mantle) was a fashionable garment choice for women. Function: votive offering to the goddesses; women are never portrayed nude; made to contrast with the Lady of Auxere; not nude, which indicates respect and importance. Context: stylistic "sister" to the Anavysas kouros. She was buried to preserve her colors from the Persians attacking Acropolis. The Peplos Kore is the latest peplos - clad dedications on the Acropolis. Sculptors rendered intricate patterns created by the cascading folds of thin, soft material. The kore postures are fixed like their male counterparts. Descriptive terms: soft colors, more colorful, natural looking, Archaic smile, broken from the Persians attacking, beautiful. Statue of a young woman, likely a goddess. paint still on statue, pierced ears, and archaic smile. Due to hand missing it cannot be sure, but thought to be holding something in that hand.

Kouros

Date: 600 BCE Period/Style: Archaic Artist/Architect: N/A Patron: N/A O Location: in countryside near Athens Material/Technique: kouros(pl. kouroi)=youth; emulates stance of Egyptian statues; = rigidly frontal, left foot slightly forward; arms on the side of body, fists clenched, thumbs forward; Egyptians- permanence & stability, Greeks- motion; triangular head and hair; flat face (Daedalic style); slim waist; v-shaped ridge of hips; archaic smile: cheeks are chubby, eyes are almond shaped and goofy smile Function: funerary statue; decorative Context: stood over a grave somewhere near Athens; now in the MET, NY Descriptive terms: nude, bronze, detailed, sculpted

Plan of Temple A

Date: 625 BCE Period/Style: Geometric Artist/Architect: N/A Patron: N/A O Location: Prinias, Greece Material/Technique: stone, resemble a Mycenaean megaron Function: honors an unknown deity, flat rood, two interior columns, limestone lintel, sculpted decoration Context: facade had thee great piers Descriptive terms: simple, decorated

Geometric krater, from the Dipylon cemetery

Date: 740 BCE Period/Style: Geometric Artist/Architect: Patron: N/A O Location: Athens, Greece Material/Technique: abstract motifs; depicts a funeral; designs are two-dimensional; artist focused on specifying gender, not the accuracy; highly stylized; human figure and narratives revived; women pulling hair out bc they're stressed; artist tried to cover all empty spaces with shapes- circles or M-shaped designs; meander- key, pattern on the rim Function: grave marker; offering to the dead Context: found in the Dipylon cemetery of Athens; now in the MET NY Descriptive terms: geometric, patterns

Polykleitos

Developed the first canon of measurement for the ideal statue of a nude man.

Ara Pacis Augustae (Altar of Augustan Peace)

EARLY EMPIRE 27 BCE-96 CE -13-9 bc -celebrates the emperors most important achievement, the establishment of peace -Vergil wrote the Aeneid during the rule of Augustus, which glories the young emperor -low relief -upper register ---narrations ---Tellus in middle (goddess of birth) ---personification of Greece ---panel of peace ---classic style -longer sides of altar is a procession scene ---compare with Parthenon procession scene

Portrait of Augustus as General

EARLY EMPIRE 27 BCE-96 CE -early 1st century ce -this portrait presents the emperor in armor in his role as general -had many different portraits -used art as a propaganda tool -idealism, imitate high classic -resembles Doryphoros -chest plate emphasizes status as leader -egyptian influence

Tomb of the Leopards

ETRUSCAN 700-89 BCE -480-470 BC -Monterozzi Necropolis -big hands -couples, servants, musicians -heraldic composition -men: dark skin -women: light skin

Apollo from Veii

ETRUSCAN 700-89 BCE -510-500 bc -from the roof of the Portonaccio Temple -no contrapposto -clothing does not look natural -looks like Archaic smile, but more lifelike

Tomb of the Augurs

ETRUSCAN 700-89 BCE -520 BC -Monterozzi necropolis -heraldic composition -composite view -true fresco technique -focus is on narration -one of the oldest tombs in Tarquinia to have frescos on all four walls -door symbolizes entrance to the underworld -a masked pheru oversees a contest between a dog and a man whose head is covered by a sack -big feet and hands

Sarcophagus of Cerveteri

ETRUSCAN 700-89 BCE -520 BC -animated face, incredibly lifelike -distinct Etruscan eyes -artist did not focus on legs -focus is on emotions of the couple

Interior of the Tomb of the Shields and Chairs

ETRUSCAN 700-89 BCE -550-500 bc -Banditaccia Necropolis -low relief sculptures -many little details -columns are part of the rock

Fibula with Orientalizing lions

ETRUSCAN 700-89 BCE -650-640 bc -from the Regolini-Galassi tomb -combination of granulation and repoussé -Mesopotamian influence -Orientalization period -fibula: clasp or safety pin used for hair clip or clothes

Interior of the Tomb of the Reliefs

ETRUSCAN 700-89 BCE -late fourth or early 3rd century -Banditaccia Necropolis -painted stucco reliefs covering its walls and piers -the stools, mirrors, drinking cups, and other items are reminders of the houses of the living

Temple of Athena Nike

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

Name the ancient culture that has influenced the Etruscans.

Greek

The Etruscan mythology is based on which mythology?

Greek

Polykleitos

Greek High Classical Sculptor; devised mathematical formula for representing the perfect male body;

Socrates

Greek philosopher; socratic method--questioning; sentenced to death for corrupting Athens youth

Kouros

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

Laocoön and His Sons

Hagesandros, Polydoros and Athanadoros of Rhodes. Hellenistic. Perhaps the original of the 2nd or 1st century BCE or a Roman copy of the 1st century CE. Marble, height 8' (2.4 m). Vatican Museum, Rome.

Temple of Aphaia: West Pediment warrior

Has the archaic smile, is laying down very casually even though he is mortally wounded

Kalikrates and Iktinos

Kallikrates was one of the architects of the Parthenon. He also designed the Temple of Athena Nike on the Athenian Acropolis. Iktinos was one of the architects of the Parthenon in Athens. He also worked on the sanctuary of Demeter at Eleusis.

Praxiteles

Known for soft, sensuous bodies

Capitoline Wolf

LATE ETRUSCAN 700-89 BCE -500-480 bc -classic Etruscan metal work

Perikles

Leader in Athens during its Golden Age, patron of the arts encouraging public images of peace, prosperity, and power. Convinced the people to rebuild the Acropolis to honor Athena.

Head of Alexander the Great Created by Lysippos 3rd Century Pella, Greece Marble

Lysippos was the official portrait sculptor of Alexander the Great

Seated Boxer

Hellenistic Greek Sculpture (100-50 BCE) Heavily Battered, defeated veteran. Nose broken, teeth missing. Appealed to the emotions Realism. Foreshortening.

Athena Attacking the Giants

Hellenistic. detail of the frieze from the east front of the alter from Pergamon. Marble, frieze height 7'6"

Where was most of the Etruscan pottery discovered?

Inside tombs

*Black-Figure Technique

Invented in the 7th century BCE. Figures and ornamental motifs were applied w/ a slip, which turned black during firing. The background remainder the color of the clay. Painters then decorated individual forms by incising the slip using a burin, or adding white and purple enhancements created from mixtures of pigment and clay. (mostly red background)

Ionic Column

Ionic columns are identified by the scroll-shaped ornaments at the capital, which resemble a ram's horns called volutes. The Ionic column rests on a rounded base.

Nike of Samothrace

It is a 2nd century BC marble sculpture of the Greek goddess Nike. It is one of the most celebrated sculptures in the world. It is estimated to have been created around 190 BC. Its purpose is storytelling. It was created not only to honor the goddess but to honor a sea battle. It conveys a sense of action and triumph as well as portraying artful flowing drapery through its features which Greeks considered ideal beauty. It is held to be one of the great surviving masterpieces of sculpture from the Hellenistic period.

Pergamon

It is an ancient citadel, built on a hill in Asia Minor. It is known as the epitomy of Hellenism. It was built as an idealistc "resort town" which mimicked Athens. It was given to the Romans after they helped the Greeks fight a war.

What is unique about the subject matter of the Dying Gaul?

It is the first greek art work that is of a person that is not greek, the man was from modern day France

Weary Herakles

Lysippos. Late Classical. 320 Roman marble copy from Rome, Italy, signed by GLYKON OF ATHENS, after a bronze original of ca. 320 BCE- This was found at the baths of Caracalla. Shows point in time, provides narrative. Shows human side of him, how exhausted he was after performing one of his feats.

Lysippos

Made a new canon of measurement for statue of a nude man.

Grave Stele of Hegeso; Classical (ca. 400 BCE)

Marble stele. Depicts a seated woman opening a jewelry box presented to her by a servant and examining what was once a necklace depicted in paint.

Parthenon: Statue of Athena

Massive statue, skin made of ivory, most of the rest made of gold. Doric columns make up the frame that surrounds her

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.

Temple of Aphaia: East Pediment warrior

More detailed body than the west pediment warrior. Does not have the archaic smile, shows slight distress (so we're almost beginning to see emotion)

The Athenian Agora and the experiment in democracy

Most important public space in Athens in 5th century B.C.E Dedicated to gods, Hephaistos and Athena Athenian democracy- people directly participated; anyone who was a great speaker or wealthy could run for leadership; had to be a citizen (Male and Athenian); both parents had to be Athenian Ostracism- voters scratched or painted on a piece of pottery the name of the man he thought most dangerous to the state If Ostracised, the leader would have to leave Athens Demos- "people"; kratos- "power" Was a market place, became governmental building during Classical Period Large open square for citizens to sell goods Stoa- civic building

Name two different types of Etruscan tombs.

Mounds and Dice tombs

Aphrodite of Knidos, (Roman copy), Artist:Praxiteles, 350-340 BCE, Period:Late Classical

- Aphrodite (goddess of beauty) taking a bath - modest because shes covering her genital area but doesn't seem embarrassed about it - placed in a round temple ( to appreciate her on all sides) - Experimental aspect of Greek architecure first completely nude female statue comissioned by the Island of Kos, asked for 2 but rejected the naked one, wanted clothed one (so radical even for its time) Why not disrespectful: she is goddess of beauty, so hails her beauty. Next to Hydria vase, so what is the narrative? She is bathing. Placed in such a way so that one could admire it from all angles (behind and in front) Material/Technique: original is carved from Parian marble; retains superhuman beauty, but is more sensuous; made Knidos famous bc he depicted a naked goddess, which was uncommon at the time; about to take a bath; garment is draped over a water pitcher (hydria); shields pelvis with right hand Function: to honor or depict Aphrodite in a more sensual manner Context: was in Tholos, Delphi, Greece Ideas: This statue was very famous at the time--many people would sail just to see it bc it was sensual and beautiful, and it was the first depiction of a nude goddess.

Stele of Hegeso, 410- 400 BCE, Athens

- shows Hegeso in front of her slave holding a pyxis (gift for bride, emphasis on her virtue) - not a lot of motion - dressed in a conservative notion - depicted as a pious Athenian lady - inscription says "Hegeso Prexeno". (Hegeso belongs to Prexeno, which is her father) - importance of class, gender, and the roles of women in Classical Greek society - the ideal Athenian women woman dressed very conservative fashion, shown as pious athenian lady died before her time, inscription says "belonging to her father", says Hegeso Prexena (hegeso belonging to her father)

Grave Stele of a Young Hunter, 340-330 BCE

- the boy possibly his slave - sense of mourning that a person died too early - trying to connect to the viewer Slave child perhaps, sense of mourning, maybe died too early tries to elicit sympathy from viewer LATE CLASSICAL PERIOD -Athens, Greece -340-330 bc -emotions are portrayed -high relief, some are no relief -statue looking forward unlike Stele of Hegeso which is from 400 bc

Statue of Apollo from Veii, name three characteristics prevalent to Archaic

-Archaic smile -Stylized hair -Large protruding eyes

What were the benefits of the red-figure technique?

-Because the figures in red vase painting remained the same color as the clay, they could be articulated w/ dilute washes or layers of glaze applied w/ a brush. -This method opened up greater possibilities like naturalistic representation of anatomy and emotion.

Describe the differences in black-figure and red-figure vase painting in terms of technique and visual effect.

-Black figure vase painting was when the background remained the color of the clay, and painters created figures on it by incising the slip -Red figure vase painting is when the figures and motifs remained the same color of the clay, and the background was filled in w/ the slip which turned black.

typical Etruscan Temple

-Built on podiums -barrel vault -large statue placed on roof -(Greek)columns only in front -Tuscan order -looks like doric order -3 cellas -wood columns, wood roof -deep porch -mudbrick walls

What does the inside of an Etruscan tomb look like?

-Decorated with low reliefs -Tomb chambers underground -Corbel vaulting -Walls plastered and painted -many little details -columns are part of the rock -terracotta statues: baked clay

Sleeping Satyr (Barberini Faun)

-HELLENISTIC 323-30 BC -230-200 bc -Rome, Italy -FIRST TIME male sexuality is emphasized -satyr: a creature that is always drinking -even larger opening of mouth

Venus De Milo

-HELLENISTIC 323-30 BC -Alexandros of Antioch-on-the-Meander -150-125 bc -Melos, Greece -eroticism

Laocoon and his sons

-HELLENISTIC 323-30 BC -Athanadoros, Hagesandros, and Polydoros of Rhodes -Rome -early 1st century ce -Pergamene sculpture -dramatic -exaggerated realism

Temple of Apollo

-HELLENISTIC 323-30 BC -Didyma, Turkey -313 bc -hypaethral temple- open to the sky -breaks traditional greek temple design -architects: Paionios of Ephesos & Daphnis of Miletos

Gallic chieftain killing himself and his wife

-HELLENISTIC 323-30 BC -Epigonos -Pergamon, Turkey -230-220 bc -human anatomy is very detailed -realism

Altar of Zeus

-HELLENISTIC 323-30 BC -Pergamon, Turkey -175 bc -the frieze includes the battle of gods & giants alluded to the victory of King Attalos I over the Gauls of Asia Minor -most famous Hellenistic sculptural ensemble -violent movement, swirling draperies, & vivid depictions of suffering fill the frieze

Battle of Issus

-HELLENISTIC 323-30 BC -Philoxenos of Eretria -310 bc -Tessera Mosaic- cubical pieces of tiny cut stones -reveals artists mastery of foreshortening, of modeling figures in color, reflections & shadows, and the intensity of warfare

Alexander Sarcophagus

-HELLENISTIC 323-30 BC -Saida, Lebanon -late 4th century bc -designed as a greek temple -one side is a battle between Persians & Greeks -one side is Persians & Greeks hunting together -winners are greeks- wearing some or no clothes -losers are Persians- fully clothed -high relief, some parts no relief -compare to Parthenon frieze -heavy use of realism -both hunting & battle scenes are depicted bc the two cultures combine

Seated Boxer

-HELLENISTIC 323-30 BC -older, defeated boxer with broken nose and missing ear -Rome -100-50 bc -new pose

Weary Herakles

-LATE CLASSICAL PERIOD 400-323 BCE -ARTIST:Lysippos -TIME:320 bc -first time Herakles is portrayed as weary and humanized

Apoxymenos (Scraper)

-LATE CLASSICAL PERIOD 400-323 BCE -ARTIST:Lysippos -TIME:330 bc -wanted audience to observe & walk around artwork to be viewed from multiple angles -called scraper bc greeks used to fight covered in oil and using a scraping tool was the way to get the oil off the body

Hermes and Dionysos

-LATE CLASSICAL PERIOD 400-323 BCE -ARTIST:Praxiteles -TIME:340 bc -god and goddess -Temple of Hera, Olympia -baby looks like mini adult bc artist of this time haven't worked with babies -humanized

Doric style

A simple style of Classical architecture, characterized in part by smooth or fluted column shafts and plain, cushionlike capitals, and a frieze of metopes and triglyphs.

Greek Architecture Orders

1.) Classical Order: Styles of architecture created by Greeks (basic, ancient building system) 2.) Doric: Simplest Pediment- triangular space at top of temple Entablature- top part is called frieze, which is decorated with Triglyphs (three marks) and Metopes (spaces in between Triglyphs filled with sculptures) Capital- top part of shaft Shaft (Column)- vertical lines; flute (scallop carved out of surface); no decorative piece at end of shaft Entasis- shafts get bigger towards center Shafts would be made of multiple stacked stones 3.) Ionic: Volutes- scroll-like shapes 4.) Corinthian: Leaf- like shapes Highly decorative, complicated Includes volutes

Alter of Zeus

175-150BC Pergamon alter, ionic structure, reliefs quite deeply carved falling out of sculpture calm, reserved; Hellenistic

Late Empire

193-337 ce

Dying Gaul

230-220 BCE, Hellenistic, by Epigonos. Bronze original, marble is from 2nd cen. AD. Gual=barbarian (anyone not Greek). looks tortured and pained, can't hide anguish like a Greek hero can. he is realistic. has a mustache, rope collar, messy hair, make him look like a barbaric animal. unkempt. physical and emotional weakness and fragility.

Early Empire

27 bc-96 ce

When was the Bronze age and what were the 3 cultures in it?

3000--1100 BCE. --> Cycladic, Minoan, Mycenaean

Hellenistic Period

323-30 BCE

Hellenistic Greek Art

323-31 BCE (3rd, 2nd, 1st centuries) Art displays strong sense of movement and emotion. No longer focused on the ideal.

Alexander the Great

356-323 b.c., king of Macedonia 336-323: conqueror of Greek city-states and of the Persian empire from Asia Minor and Egypt to India.

Late Classical Period

400-323 BCE

Erechtheion

421-405 B.C.E. Unknown artist, built on a sloping site. Ionic, contains caryatids

Kallikrates, Temple of Athena Nike

427-424 B.C.E. (Artist Kallikrates): Ionic (continuous frieze), smaller temple, though most ionic temples were not small.

High Classical

450-400 B.C.E.

Caryatid

A sculpture of a draped female figure acting as a column supporting an entablature

Republic

509-27 bc

Kouros

600 B.C.E. Young man, grave marker, made from limestone. Idea of free standing human sculpture copied form Egyptians. Nude, stylized geometric hair

Archaic Greek Art

600-480 BCE (7th & 6th centuries). Influenced by Egyptian art. figures are stiff, archaic smile, naturalism, interest in accuracy of ideal human form.

High Empire

96-192 ce

Tholos Tomb

A beehive shaped tomb with a circular plan. (Also see the image on the 'relieving triangle' arch)

Archaic smile

A distinctive feature seen in many Kouroi in the Archaic period. Not necessarily an indication of happiness, but this smile does convey that this figure is alive, an emotional being. ex: Kroisos

Lost Wax Process

A method of casting metal, such as bronze, by a process in which a wax mold is covered with clay and plaster, then fired, melting the wax and leaving a hollow form. Molten metal is then poured into the hollow space and slowly cooled. When the hardened clay and plaster exterior shell is removed, a solid metal form remains to be smoothed and polished.

Entasis

A slight swelling of the shaft of a Greek column. The optical illusion of entasis makes the column appear from afar to be straight.

Volute

A spiral scroll, as seen on an Ionic capital

Which ruler created the Hellenistic period of Greece?

Alexander the Great

Kouros(Kouroi)

An Archaic Greek statue of a young man or boy

Polis

An ancient Greek city-state

Amphora

An ancient Greek jar for storing oil or wine, with an egg-shaped body and two curved handles

Krater

An ancient Greek vessel for mixing wine and water, with many subtypes that each have a distinctive shape. Calyx Krater- A bell shaped vessel with handles near the base that resemble a flower calyx. Volute krater- A type of krater with handles shaped like scrolls.

*Kouros

An archaic Greek Statue of a young man (Greek for "youth") ex: Kroisos

Kore(Korai)

An archaic Greek statue of a young woman

Contrapposto

An italian term meaning "set against" used to describe the twisted pose resulting from parts of the body set in opposition to each other around a central axis

Praxiteles

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

Geometric Krater from Dipylon cemetary

Athens, 8th c. B.C.E. Large mouthed vessel used to mix water and wine, this one used as a grave marker. People are illustrated through geometric shapes and patterns

*Red-Figure Technique

Attributed to the Andokides Painter in the 6th century.Figures and decorative motifs remained the color of the clay; the background, filled in with the slip, turned black. Figures could be articulated w/ dilute washes or layers of glaze applied w/ a brush instead of incised w/ a burin. This method opened up greater possibilities due to the brush technique that allowed for greater naturalistic representation of anatomy and emotion (mostly black backgound)

Necropolis

City of the Dead

Parthenon: Three Goddesses, East Pediment

Clothes more revealing than in previous artwork, almost looks wet.

Corinthian column

Corinthian columns are the latest of the three Greek styles and show the influence of Egyptian columns in their capitals, which are shaped like inverted bells. Capitals are also decorated with olive, laurel, or acanthus leaves. Corinthian columns rest on a base similar to that of the Ionic style.

Temple of Hera I

Culture/Period: Greek, Archaic Period Location: Paestrum, Italy Date: 540 BC - made in doric order - temple was a house for just one God(dess) - cult statues personified the God - alter usually outside, temple was backdrop to offerings

Caryatids

Female sculpture columns, from Ionic order

Victory Monument of Attolos I

Gaul killing himself, refuses to be taken prisoner, gaul's expressive face, limp women body

Pergamon

Gauls, Akropolis?

stereobate

In Greek architecture, the stepped base on which a temple stands.

Fluted necking (Fluting)

In architecture. Evenly spaced, rounded parallel vertical grooves incised on shafts of columns or columnar elements (such as pilasters)

peripteral

In classical architecture, a colonnade all around the cella and its porch(es). A peripteral colonnade consists of a single row of columns on all sides; a dipteral colonnade has a double row all around.

Entablature

In the Classical orders, the horizontal elements above the columns and to top, an architrave, a frieze, and a cornice.

Temple Plan

Peristyle - row of columns surrounding the temple, structure in center would contain a statue of a god/goddess

Laocoon

Poseidon killed Laocoon and sons, Trojan horse, similar to dying gaul

Aphrodite of Knidos

Praxiteles. Roman marble copy after an original of ca. 350-340 BCE. Approx. 6' 8" high. Vatican Museums, Rome. First nude statue of a goddess. praxiteles turns marble into "flesh" late classical. Not meant to be erotic Considered ideal for the time.

Denarius with portrait of Julius Caesar

ROMAN REPUBLIC 509-27 BC -44 bc -Julius Caesar was the first to place his own portrait on Roman coinage during his lifetime -this denarius, issued just before his assassination, shows the dictator with a deeply lined face and neck

Temple of Portunus

ROMAN REPUBLIC 509-27 BC -75 bc -combination of Greek and Etruscan influence -stone structure overlaid with stucco to imitate Greek marble -ionic columns complete with flutes and bases and a matching ionic frieze -pseudoperipteral temple -free standing columns only at front

Portrait of a Roman general

ROMAN REPUBLIC 509-27 BC -from Sanctuary of Hercules -75-50 bc -sculptor based this life size portrait of a general on idealized Greek statues of heroes and athletes -because of mass production, sculptors would make the head and then they could go buy a body

Man with portrait busts of his ancestors

ROMAN REPUBLIC 509-27 BC -late first century -this toga-clad man proudly displays the portrait busts of his father and grandfather -both father and grandfather are characteristically realistic likenesses -portrait busts provided representation of a families genealogy

Sanctuary of Fortuna Primigenia

ROMAN REPUBLIC 509-27 BC -late second century -Palestrina, Italy -concrete made this building possible to make -most impressive and innovative use of concrete -goddess of good fortune -it had terraces, ramps, shops, and porticos spread out over several levels

Pompeii and Mount Vesuvius

ROMAN REPUBLIC 509-27 BC -late second century bc -Mount Vesuvius erupted, covering Pompeii in ash -forum was at the center -Capitolium (main temple) at the north end -basilica in the southwest corner

Veristic Portraits

ROMAN REPUBLIC 509-27 BC -surreal portraits -very common of old men from distinguished families during the Republic -too exaggerated

cubicula

a number of small rooms surrounded the atrium and peristyle where the family ate and slept

Metope

The carved or painted rectangular panel between the triglyphs of a Doric frieze

Cella

The chamber at the center of an ancient temple where the cult statue was placed

Acropolis

The citadel of an ancient Greek city, located at its highest point and housing temples, a treasury, and sometimes a royal palace. The most famous is the Acropolis in Athens.

Hypostyle hall

The hypostyle hall was a huge multi-columned hall constructed between the pre-existing second and third pylons. The hall was filled with 134 gigantic stone columns. 12 open papyrus columns lined the raised central aisle.

Dipylon Vase; Archaic

The main phrase of this krater features funeral scene of a woman. This krater also has geometric figures, orientalizing, deer/goat motifs. Black bands around base, neck, and lip.

Frieze

The middle element of an entablature, between the architrave and the cornice. Usually decorated with sculpture, painting or moldings. Also- any continuous flat band with relief sculpture or painted decorations

Seated Boxer

athlete, tired-detailed face, realism

Altar of Zeus

battle of gods against giants

How does Late/Hellenistic sculpture differ from High Classical?

They changed because you saw a lot more nude women sculptures

Winged Victory of Samothrace; Hellenistic (ca. 190 BCE)

This 9' tall marble statue stood on the prow of a stone ship that was part of a temple environment. Has a kind of windswept energy full of motion and emotion.

Anavysos Kouros (Kroisos); Archaic

This freestanding male nude is of marble from the 6th century BCE. More idealistic than previous kouroi, this kouros displays a rounded modeling of face, torso, and limbs. The "senior"

Peplos Kore; Archaic

This freestanding statue of a woman, clothed in a tunic is from the Acropolis. 6th century BCE, made of marble. Some argue that this is a godess, instead of a mortal woman.

Laocoon and His Sons; Athanadoros, Hagesandros, & Polydoros of Rhodes; Hellenistic (ca. 1st cen. CE)

This marble sculpture depicts a man and his sons being killed by serpents. The men are muscular and writhe in agony; the pain is clearly shown on their faces. It has been reconstructed how archaeologists belief it was originally.

Describe the Minoan Palace in terms of its form and function.

This palace resembles a maze/labrynth and it was most likely because of the myth of king Minos, who had a minotar (half man half bull) in a labyrinth under his palace and would take tributes of youths and maidens to be fed to the minotar.

Doryphoros (Spearbearer); Polykleitos; Classical

This sculpture employs harmonic proportions and a system of cross balance for all parts of the body to portray the perfect man and to impose order on human movement. Marble Roman copy, bronze Greek original would have held bronze spear.

Sanctuary of Athena Pronaia

Tholos, Sanctuary of Athena Pronaia, Delphi. C. 400 BCE an ancient Greek circular shrine. Circle represents perfection.

Name the two most important type of buildings of the Etruscans.

Tombs and temples

Name the most common technique used by Etruscan painters?

True Fresco technique

Lapith vs Centaur Metopes

Why is this dynamic? stretch of the body, twisted body creates more movement, cloak draped around body adds movement

What is the difference concerning color representing women and men of the Etruscan period of time?

Women: white Men: reddish brown

Was clay used for the Etruscan sculpture?

Yes, Terra-Cotta (baked clay)

Nike Adjusting Her Sandal

[Classical] (410 BCE) • From the temple of Athena Nike • Graceful winged figure modeled in high relief • Deeply incised drapery lines reveal body, wet drapery

Kritios Boy

[Classical] (480 BCE). Introduction of the contrapposto, body standing naturally. Slight turn to the body head not strictly frontal but a bit to one side. Transitional piece between Archaic and Classical art.

impluvium

a basin to channel rainwater to be store in cisterns for household use

peristyle

a colonnade surrounding a building or enclosing a court

Column

a long post made of steel, stone, etc., that is used as a support in a building

Attribute

a material object recognized as symbolic of a person, esp. a conventional object used in art to identify a divine or mythical figure

portico

a porch or entrance to a building consisting of a covered and often columned area

Pudica Pose

a pose of 'modesty'. Derived from 'pudenda' and equated w/ the words 'shame' and 'genitalia'

Citadel

a stronghold in which people could go for shelter during a battle

Classical Greek Art

a style of greek art associated with the classical period, 500 - 338 BC. Sculpture showed idealism, symmetry, and naturalism but NOT individualism. Architecture demonstrated balance & harmony, a sense of perfection, order, and beauty. Doric and Ionian orders in architecture.

Caryatid

a supporting column carved in the shape of a person

Triglyph

a triple projecting, grooved member of a Doric frieze that alternates with metopes

amphora

a two-handled jar used for the storage and transport of wine, oil, dried fish, and other commodities.

groin vault

also called the CROSS VAULT, is formed by the intersection at right angles of two barrel vaults of equal size

barrel vault

also called the TUNNEL VAULT, the barrel vault is an extension of a simple arch, creating a semicylindrical ceiling over parallel walls

Kore

an Archaic Greek statue of a standing, draped female. Peplos Kore

krater

an ancient Greek wide-mouthed bowl for mixing wine and water

*Corbelled arch/vault

an arch formed by the piling of stone blocks in horizontal rows, cantilevered inward until the blocks meet.

Propylon

an outer monumental gateway standing before a main gateway (as of a temple)

Votive Figures

are of various sizes and usually carved in gypsum or limestone. They depict men wearing fringed or tufted fleece skirts, and women wearing fringed or tufted dresses draped over one shoulder.

Geometric style Greek pottery

is characterized by motifs, such as meanders, triangles, swastikas and other abstract geometrical decoration.

Temple of Apollo

large number of steps on each side, oracle stationed with shrine, hypaethral

Frieze

middle element layer of an entablature usually decorated with sculpture, painting or molding.

The Dipylon Vase

name | Dipylon Vase artist | unknown period | Geometric (Ancient Greek Art) date | circa 750 BC

Cyclopean Masonry

named after the mythical Cyclopes, a method of stone construction using massive irregular blocks to create structures w/o mortar binding.

What myth is told on the Altar of Zeus and Athena at Pergamon?

olympians vs titans

Hypaethral

open air, no ceiling

*True (buon) fresco

painting on lime plaster; pigments are mixed with water and become chemically bound to the freshly laid lime plaster

domus

private house

forum

public square, center of civic life

Low Relief

sculptural relief that projects very little from the background

High Relief

sculptured relief in which volumes are strongly projected from the background

Stoa of Attalos

shelter, market place, great mall, gift to city by Attalos II

Idealization

showing someone/something more perfect than they are, very important & present in greek art

Old Market Woman

shows age-realism, shows class (servant/slave woman), breast shown-sexual past

colonnade

structure consisting of a row of evenly spaced columns

optical refinements

subtle adjustments that the artist made on a piece to make it look more perfect

in antis

term used to describe the position of columns set between two walls as in a portico or cella OR 2 columns between the 2 walls in the cella

*Relieving triangle

the Triangular opening above the intel that serves to lighten the weight carried by the intel itself; post and lintel.

cella

the chief room of a Greek temple, where the statue of the god was located and, frequently, the temple's treasure was kept.

*Contrapposto

the disposition of the body when one part is turne in opposition to another part, creating a counter-positioning of the body about it's central axis. This technique provides a more naturalistic rendering of a human figure standing in space.

Hemispherical Domes

the largest domed space in the ancient world for more than a millennium was the corbeled, beehive shaped tholos

Parthenon

the main temple of the goddess Athena. built on the acropolis in Athens more than 400 years B.C.; example of Doric architecture

Doric capital

the oldest and simplest of the three main orders of classical Greek architecture, characterized by heavy fluted columns with plain, saucer-shaped capitals and no base.

Metope

the rectangular spaces between the triglyphs of a Doric frieze. These were usually plain but occasionally decorated

The Acroplis

the religious center of Athens

Hieratic scale

the use of different size for significant or holy figures and those of the everyday world to indicate importance; the larger the figure, the greater the importance

Canon of proportions

this unit of measurement is reasonably standard, and has long been used by artists to establish the proportions of the human figure. Ancient Egyptian art used a canon of proportion based on the "fist," measured across the knuckles, with 18 fists from the ground to the hairline on the forehead.

S-curve

traditional art concept in Ancient Greek sculpture and Roman sculpture where the figure's body and posture is depicted like a sinuous or serpentine "S".

tubicen

trumpeters

Dying Gaul

twisted rope-celtic identification, body language=baroque? exaggerrated male features

Contrappasto

weight shift of the human body