Greece: Archaic & Classical Period, Greece: Late Classical Period & Hellenistic Period, Survey of Art I - Day 9 - Classic Greece, Survey of Art I - Day 14 - Exam 2 Study Guide (Days 8-13), Survey of Art I - Day 10 - Late Classical, Hellenistic Period...
Verism (Roman 1)
"Vero" - meaning true , while "Veritas" meaning truth . "verimoso - realism? the goal is to set characters and situations as realistically as possible. Some verimoso operas were taken from actual news stories.
Folio (Roman 1)
(n) an individual leaf of paper or a book or manuscript made up of such leafs
Know the four styles of Roman painting (Roman 1)
1. Masonry, 2. 3D spaces (linear perspective) ---> Dionysiac mystery frieze (people, other world) Gardenscape/landscape. 3. Columns from Gold, super small, jewels and architecture. negative space, and a little landscape in the middle. 4. Wall paintings, Illusinism
Oculus (Roman 2)
A circular opening in a wall or at the top of a dome.
Encaustic (Geometric/Archaic Greek)
A painting technique in which pigment is mixed with wax and applied to the surface while hot.
Triglyph (Geometric/Archaic Greek)
A projecting grooved element alternating with a metope on a Greek temple
Ampitheater (Roman 1)
A round arena where games, shows, or fights are held in the center
Sarcophagus (flesh-eater) (Etruscan)
A sarcophagus (plural, sarcophagi; sarcophaguses) is a box-like funeral receptacle for a corpse
strigil (Late Classical Greece)
A scraper, used by ancient Greek athletes to scrape oil from their bodies after exercising.
Kouros and Kore (Geometric/Archaic Greek)
An Archaic Greek statue of a standing nude male was called Kouros, but a female was called Kore.
Tumulus (Etruscan)
An artificial mound of earth and stones placed over a grave
Peloponnesian Wars
Athens vs. Sparta; Athens loses due to plague that kills 1/3 of city, plague continues for 5 years initially makes sacrifices for the Gods, nothing happened disillusions faith for Gods
(Geometric/Archaic Greek) Temple Plan Ancient Greece
Canonical Greek temples maintained the same basic structure throughout many centuries. The Greeks used a limited number of spatial components, influencing the plan, and of architectural members, determining the elevation. Floor plan[edit] Naos[edit] The central cult structure of the temple is the naos or Cella, which usually contained a cult statue of the deity. In Archaic temples, a separate room, the so-called adyton was sometimes included after the cella for this purpose. In Sicily, this habit continued into the Classical period. Pronaos and opisthodomos[edit] In front of the cella, there is a porch, the pronaos, created by the protruding side walls of the cella (the antae), and two columns placed between them. A door allows the cella to be accessed from the pronaos. A similar room at the back of the cella is called the opisthodomos. There is no door connecting the opisthodomos with the cella; its existence is necessitated entirely by aesthetic considerations: to maintain the consistency of the peripteral temple and to ensure its viewability from all sides, the execution of the front has to be repeated at the rear. A restricted space, the adyton, may be included at the far end of the cella, backing up on the opisthodomos. Peristasis[edit] The complex formed by the naos, pronaos, opistodomos and possibly the adyton is enclosed on all four sides by the peristasis, usually a single row, rarely a double one, of columns. This produces a surrounding portico, the pteron, which offered shelter to visitors of the sanctuary and room for cult processions.
Tetrarch (Roman 2)
Emperor Diocletian's division of the Roman Empire into four seperate administrative districts
Optical Illusions in the Parthenon
Erected between 447 and 438 B.C., the Parthenon in Greece was designed by Iktinos, when Greek architecture was at the height of its sophistication. Due to the presence of optical illusions, the Parthenon has what are known as "optical refinements" built into its structure. It must be stressed that these illusions are physiological and psychological in nature. They are not geometrical effects. To the unaided eye, columns tend to look narrower in the middle than at the top or bottom. Each of the columns in the Parthenon was built with a slight bulge in the middle, to make them appear "straight". Columns tend to "contract" near the top, and hence the base of each column was built a little thicker. Columns further away from the centre appear thicker. To counteract this effect, the columns in the centre were built a little thicker. Furthermore, the spacing between the columns appear smaller towards the centre. Therefore, they were spaced wider apart accordingly. Horizontal lines appear to "dip" in the middle, and hence the centre portion of the floor was slightly raised. Furthermore, the columns were slanted inwards so that they would meet if they were extended one mile into the sky. This to counteract the effects of hatched-line illusions (Fig. 64). The triangular outline of the roof makes the top part of each column appear to slant outwards. Fig. 34 - Schematic diagram of how the Parthenon would appear before (left portion) and after (right portion) optical refinements. The left portion of Fig. 34 shows how the Parthenon would appear before the optical refinements. The optical illusions shown are grossly exaggerated for effect. After the corrections were made to the columns and floor, the Parthenon now appears "correct", as shown in the right portion of Fig. 34. It is interesting to note that none of the "straight lines" seen in the Parthenon are geometrically straight. Such concepts of making architecture appear to look "correct" are known as "counter-perspective".
Optical Illusions in the Parthenon (Early Classical Greece)
Erected between 447 and 438 B.C., the Parthenon in Greece was designed by Iktinos, when Greek architecture was at the height of its sophistication. Due to the presence of optical illusions, the Parthenon has what are known as "optical refinements" built into its structure. It must be stressed that these illusions are physiological and psychological in nature. They are not geometrical effects. To the unaided eye, columns tend to look narrower in the middle than at the top or bottom. Each of the columns in the Parthenon was built with a slight bulge in the middle, to make them appear "straight". Columns tend to "contract" near the top, and hence the base of each column was built a little thicker. Columns further away from the centre appear thicker. To counteract this effect, the columns in the centre were built a little thicker. Furthermore, the spacing between the columns appear smaller towards the centre. Therefore, they were spaced wider apart accordingly. Horizontal lines appear to "dip" in the middle, and hence the centre portion of the floor was slightly raised. Furthermore, the columns were slanted inwards so that they would meet if they were extended one mile into the sky. This to counteract the effects of hatched-line illusions (Fig. 64). The triangular outline of the roof makes the top part of each column appear to slant outwards. Fig. 34 - Schematic diagram of how the Parthenon would appear before (left portion) and after (right portion) optical refinements. The left portion of Fig. 34 shows how the Parthenon would appear before the optical refinements. The optical illusions shown are grossly exaggerated for effect. After the corrections were made to the columns and floor, the Parthenon now appears "correct", as shown in the right portion of Fig. 34. It is interesting to note that none of the "straight lines" seen in the Parthenon are geometrically straight. Such concepts of making architecture appear to look "correct" are known as "counter-perspective".
(Etruscan) Capitoline Wolf, from Rome, ca. 500-480 BCE. Bronze, approx. 2'7" ½" high. Palazzo dei Conservatori, Rome. Etruscan. 500 BCE? Bronze. Not accurate depiction of wolf, but detailed. emotion: snarling. wolves don't have manes. Story of Romulus and Remus (founders of Rome, figures added during Renaissance) and She-Wolf. Controversy: dating is not for certain, suggests 13th century at latest. 13th century BC. A magnificent example of Etruscan animal sculpture is a larger than life female world, in bronze, with round, full breasts and lean ribs. The expression of ferocity through her open mouth sharp teeth, and tense stance. It is abstractly decorated in her fur which contrast with the realistic details in her ribs and thinness. wolf is Etruscan, Ramus and Remus are from renaissance.
Etruscan. 500 BCE? Bronze. Not accurate depiction of wolf, but detailed. emotion: snarling. wolves don't have manes. Story of Romulus and Remus (founders of Rome, figures added during Renaissance) and She-Wolf. Controversy: dating is not for certain, suggests 13th century at latest. 13th century BC. A magnificent example of Etruscan animal sculpture is a larger than life female world, in bronze, with round, full teats and lean ribs. The expression of ferocity through her open mouth sharp teeth, and tense stance. It is abstractly decorated in her fur which contrast with the realistic details in her ribs and thinness.
Kore from Acropolis
Greece, Archaic Period, ca. 510 females always dressed, males nude to show beauty and strength hand holding dress other faced out clothing sign of inferiority, need to be controlled
Kroisos from Anavysos
Greece, Archaic Period, ca. 530 grave marker at cemetery; more detailed and better facial proportions, archaic smile more realistic hair
Kouros
Greece, Archaic Period, ca. 600 BCE made of marble, hands in fists, frozen no weight shift when walking archaic smile: smile to show life like features
Parthenon, Acropolis
Greece, Classical Period, Athens, 400 sacred to Athena, made of marble view from the back of the temple, face rising sun 3/4 view to see how wide it is offerings before temple, not inside
Doryphoros (Spear Bearer)
Greece, Classical Period, by Polykleitos, ca. 450 holding spear, tree trunk to support weight using new system of ratios, not grid contrapposto: shift in weight of pose, counter-balanced
Discobolos by Myron
Greece, Classical Period, ca. 450 figure in motion, nude, face emotionless even though body is strained add tree trunk to support weight, originally in bronze short hair more stylish
Zeus
Greece, Classical Period, from the sea off Cape Artemision, ca. 450 thunderbolt in his hand, in bronze because from seaship wreck emotionless face, nude, not going to break off lost wax method: how bronze statues were made
Sleeping Hermaphrodite
Greece, Hellenistic Period, 2nd century BCE face turned toward us, calm and peaceful need to walk around statue, on the other side the woman is a man Gods combined a man and woman with both male and female characteristics (sex together seen as most ideal)
Old Market Woman
Greece, Hellenistic Period, ca. 100 BCE not ideal depiction of a woman emphasis on age and stooped posture with groceries possibly made for wealth person who needed statues in garden artists now depicting ordinary people, not ideal
Seated Boxer
Greece, Hellenistic Period, ca. 100 BCE seated boxer, in bronze, turning away from us involve the individual so need to walk around to observe it slumped pose, leaning arms on his knee; nose repeatedly broken added wounds and blood to his face, mouth partly open with broken teeth cauliflower ears from long term abuse and fights what lifetime of athlete does to an individual, not a victorious athlete
Battle of Issus (Alexander Mosaic)
Greece, Late Classical Period, Pompeii ca. 300 Alexander off the left hand side spear killing a Persian, his horse has fallen Persian king inside a chariot, spears behind him encircling him look of shock from Alexander killing his guard first depiction of actual battle, Persians shown as people, feel sympathy new respect of the enemy as being human too
Hermes and the infant Dionysos
Greece, Late Classical Period, Praxiteles, ca. 340 looking at baby in an affectionate way, holding cluster of grapes in hand baby trying to get to the grapes, God of wine, teasingly more human depiction of a God
Aphrodite of Knidos
Greece, Late Classical Period, by Praxiteles, ca. 340 first time woman depicted nude; either just bathed or about to bathe interaction with humans, brought Gods down to our world
Portrait of Alexander the Great
Greece, Late Classical Period, ca. 200 Macedonians conquered the Greeks had longer hair, "melting" glance, turn to the neck (motion) expressive wrinkle across forehead with mouth slightly open no crown or helmet to symbolize a king artists trying to capture his personality often took risks that paid off, passionate individual: contributes to success beginning of true portraits in Western art
Terracotta (Etruscan)
Hard-baked clay, used for sculpture and as a building material. It may be glazed or painted.
Basilica (Roman 2)
In Roman architecture, a civic building for legal and other civic proceedings, rectangular in plan with an entrance usually on a long side. In Christian architecture, a church somewhat resembling the Roman basilica, usually entered from one end and with an apse at the other.
Capital (Geometric/Archaic Greek)
In architecture the capital (from the Latin caput, or "head", Greek kapita) forms the topmost member of a column (or a pilaster).
(Roman 1) First Style wall painting in the fauces of the Samnite House, Italy, late second century BCE This style was meant to imitate marble wall panels that were very expensive by using painted stucco relief. This picture shows a stunning illusion of walls of marble from around the mediterranean. Enforces the presence of heavy walls. This style was used in Greece since the 4th century BCE, so the Romans were copying the Hellenistic era. Masonry, True Fresco, Imitate expensive marble. Comes over from greece.
Masonry, True Fresco, Imitate expensive marble.
Contropposto (Geometric/Archaic Greek)
Originating from sculpture found in the archaic period. Is a counter balance of weight that has a centrally vertical axis. One foot is placed structurally in front of the other.
Volute (Geometric/Archaic Greek)
Ornament in the form of a spiral scroll, and the principal feature of the Ionic capital.
Metopes
Panels arranged in alternation with triglyphs located in the Doric frieze of a Greek temple, often carved with figural relief sculpture depicting mythological scenes such as the Battle of the Lapiths and Centaurs in the Parthenon.
Metopes (Early Classical Greece)
Panels arranged in alternation with triglyphs located in the Doric frieze of a Greek temple, often carved with figural relief sculpture depicting mythological scenes such as the Battle of the Lapiths and Centaurs in the Parthenon.
Pax Romana (Roman 2)
Peace after time of civil war.
Coffering (Roman 2)
Recessed panels, square or polygonal, that ornament a vault, ceiling, or the underside (soffit) of an arch.
Controposto
Relaxed posture, weight is shifted on to one le
Controposto (Early Classical Greece)
Relaxed posture, weight is shifted on to one le
Forum (Roman 1)
Rome's public meeting place public square of an ancient Roman city; public place for open discussion; court of law
s-curve (Late Classical Greece)
S shape of a statue. Contrapasso: shoulders straight, and S-curve shoulders tilted.
Doryphorous
Spear beared classical statue, ideal male form, restrained emotions
Doryphorous (Early Classical Greece)
Spear beared classical statue, ideal male form, restrained emotions
Ionic (Geometric/Archaic Greek)
The Ionic order forms one of the three classical orders of classical greek architecture
Metope (Geometric/Archaic Greek)
The carved or painted rectangular panel between the triglyphs of a Doric frieze
Doric (Geometric/Archaic Greek)
This style of column features simple, heavy columns without bases.
Canon
a Greek word that implies rule or law and is used in literature as the source which regulates which selection of authors or works would be considered important pieces of literature. PERFECT BODY FOR A GUY
Canon (Early Classical Greece)
a Greek word that implies rule or law and is used in literature as the source which regulates which selection of authors or works would be considered important pieces of literature. PERFECT BODY FOR A GUY
Caryatid (Geometric/Archaic Greek)
a female figure that functions as a supporting column
Caryatids
a female figure that functions as a supporting column
Caryatids (Early Classical Greece)
a female figure that functions as a supporting column
Impluvium (Roman 1)
a rectangular basin in a Roman house that is placed in the open-air atrium in order to collect rainwater
Obelisk (Roman 2)
a stone pillar, typically having a square or rectangular cross section and a pyramidal top, set up as a monument or landmark.
mosiac (Late Classical Greece)
an image created by the assembly of many small colored pieces, e.g., tiles
Pediments: Contest of Athena and Poseidon for Athens; Birth of Athena
at top of the temple (pediment) depicts contest between Poseidon and Athena planted an olive tree as possession of the area after victory opposite side shows the birth of Athena, did not have mother father by Zeus as his favorite child, came out from Zeus' head fully grown
Persian wars
battles against Persians resulted in unexpected victory, Gods on their side now try to show confidence (nudity) in art turn to reason and less emotion
Necropoli (Etruscan)
city of the dead
Metopes: mythical battles, including Lapiths vs. Centaurs
each has two figures and always fighting often stories about good vs. evil best preserved: man vs. centaur; civilization subduing nature symbolizes Greek victory over the Persians centaur face emotional while Greek remains blank
Chryselephantine
fashioned of gold and ivory
Chryselephantine (Early Classical Greece)
fashioned of gold and ivory
Gorgon (Geometric/Archaic Greek)
in ancient Greek mythology, a hideous female demon with snake hair; Medusa
Continuous frieze: Panathenaic Festival procession
moving right to left, both sides in the front converge in the doorway depictions of horsemen below, young men guiding cattle for sacrifice up top in front of the temple, women carrying baskets for sacrifice and men in charge over front door, all 12 Gods here to celebrate her birthday in between Zeus and Athena are men carrying gifts for her first time ordinary mortals depicted on temple
Frieze (Geometric/Archaic Greek)
ornamental horizontal band on a wall
Denarius (Roman 1)
standard Roman silver coin from which the word penny ultimately derives
doric and ionic temples
temple has doric freeze on outside then second, ionic freeze in the inside doric: triglyphs and metopes ionic: freeze plain but capital more decorative
tesserae (Late Classical Greece)
the small piece of stone, glass, or other object that is pieced together with many others to create a mosaic
(Etruscan) Difference between Greek columns and Architecture (just added)
three doors, 3 cellas, porch, stairs, columns are attruscan, made out of wood.
Pediment (Geometric/Archaic Greek)
triangular gable on a roof or facade
