Attic Geometric krater, from Dipylon cemetery, Athens (740 B.C.) ~ Geometric Pottery
Made using engobe, open at base, grave marker, formal, many geometric patterns.
Corinthian black-figure amphora (625-600 B.C.) ~ Orientalizing Pottery
Elaborate animal decoration, influence form East (combined animal and human figures – lamassau, sphinx, siren).
Ajax and Achilles Playing a Game, by EXEKIAS (540-530 B.C.) ~ Archaic Pottery
Black-figure, scene of mythology.
Dionysos in Sailboat, by EXEKIAS (540 B.C.) ~ Archaic Pottery
Black-figure, new observation of nature (sail blowing in wind).
Ajax and Achilles Playing a Game, by ANDOKIDES PAINTER (525-520 B.C.) ~ Archaic Pottery
Red-figure (more detail than black-figure), Andokides Painter given credit of creating red-figure technique.
Classical Period (pottery) – \”white ground\” (red figures, white background)
(example of style of pottery from what period)
Temple of Aphaia at Aegina (500-490 B.C.)
Temple of Hera II, from Paestum, Italy (460 B.C.)
Doric order, enasis columns.
Detail of Corinthian Capital (same as Ionic except for capital)
Acropolis at Athens (447-438 B.C.) built under rule of PERICLES
Built for Athena, 4 main buildings: Parthenon, Propylaia, Erechtheion, Temple of Athena Nike; built during \”golden age of Greece\”, temples up high.
Parthenon, Athenian Acropolis
Doric order (Naos in Ionic order), built around statue of Athena, 8 columns in front instead of 6.
Erechtheion, Athenian Acropolis
Ionic order, engaged columns, caryatids, where competition between Poseidon and Athena took place.
Temple of Athena Nike, Athenian Acropolis
Ionic order, Nike=Goddess of Victory (helper of Athena), 4 columns on each end.
Tholos at Delphi (375 B.C.)
Doric order, Temple of the Oracle (women who got high on sulfur fumes and told future).
Hero and Centaur (750-730 B.C.) ~ Geometric Sculpture
Bronze, stiff (no movement).
Archaic smile (subject of sculpture is alive), somewhat abstract hair, formalized body still.
Late Archaic Period
Archaic smile (subject of sculpture is alive), better knowledge of human form.
No archaic smile, weight-shift pose (Contrapposto), idealization (not individual people, but ideals of what a perfect person would look like).
High Classical Period
Caryatids first seen, Phidian style.
Late Classical Period
War between Athens and Sparta; Naturalistic hair, reaching out into space, still idealized.
Strong Greek influence throughout Mediterranean; Hellena=Greece; Climactic moment of action, emotional expressions, individual faces (as well as undulating forms).
Lady of Auxerre (Kore Figure) (650-625 B.C.) ~ Archaic Sculpture
Triangular shapes, abstract hair, clothed, feet together, large head.
Kouros (male figure), from Attica (600 B.C.) ~ Archaic Sculpture
Left foot forward, abstract hair, nude, large head, reminiscent of Egyptian and Near East statuaries.
Calf-bearer, from Athenian Acropolis (560 B.C.) ~ Archaic Sculpture
Left foot forward, calf=offering for God or Goddess, thin robe, head is a more realistic size, X-shape with arms and legs of calf.
Kroisos (530 B.C.) ~ Archaic Sculpture
Starting to understand bone and muscle structure (cheeks), still stiff form, more naturalistic (head is of proper size).
Peplos Kore and Another Kore figure, from Athenian Acropolis (530 and 510 B.C.) ~ Archaic Sculpture
Colored with encaustic (melted wax), hair of both=more free-flowing, Peplos Kore-not as much form under clothes, Other Kore-more human form and realistic fall of drapery. (Other Kore-Orientalizing aspects).
Pediment, Temple of Artemis at Corfu (600-580 B.C.) ~ Late Archaic Sculpture
Figures changed scale
Pediment, Temple of Aphaia at Aegina (500-490 B.C.) ~ Late Archaic Sculpture
Figures stayed in the same scale, more creative ways to fit into tapered parts of pediment.
Dying Warrior, Temple of Aphaia at Aegina (490-480 B.C.) ~ Late Archaic Sculpture
Posture is more natural of someone dying (except for the smile of course), detailed muscle definition, realistic human form.
East Pediment of Temple of Zeus at Olympia (470-456 B.C.) ~ Early Classical Sculpture
Symbolized 3 things: victory over Persians, sacred truce of Olympia, notion that humans have to act rationally; scene from famous chariot race (first Olympic games held at Temple of Zeus (476 B.C.) at Olympia).
\”Seer\” from East Pediment of Temple of Zeus at Olympia ~ Early Classical Sculpture
Emotional (knows what’s going to happen in race), very human, rare depiction of elderly.
Kritios Boy, from Athenian Acropolis (480 B.C.) ~ Early Classical Sculpture
First time contrapposto (weight-shift pose) seen
Zeus (Poseidon?) (460-450 B.C.) ~ Early Classical Sculpture
Reaching out into space, bronze, could be throwing lightning bolt or trident.
Discobolos (discus-thrower), by MYRON (450 B.C.) ~ Early Classical Sculpture
Emphasis on muscles, bones, veins.
Doryphoros (spear-bearer), by POLYKLEITOS, from Sparta (450-440 B.C.) ~ Early Classical Sculpture
Exaggerated contrapposto, canon – ideal size and shape for human body and face.
Athena Parthenos, by PHIDIAS, originally in Parthenon (438 B.C.) ~ High Classical Sculpture
Phidas hired by Pericles (Phidian Style), 38ft. tall, ivory and marble, holds Nike in hand.
Dionysos, from East Pediment of Parthenon (438-432 B.C.) ~ High Classical Sculpture
Very realistic observation of reclining human form, fold in cloth are very fluid, Phidian Style.
Three Goddesses, from East Pediment of Parthenon (438-432 B.C.) ~ High Classical Sculpture
Sometimes called 3 Fates, \”wet drapery\” – human figure distinguishable under cloth, Phidian Style.
Room/chamber inside temple where cult statue of God of Goddess resides
Columns attached to wall in between them
What some sculptured were colored with. Made out of melted wax.
A canon or ideal of beauty normally portrayed in sculpture
Weight-shift pose, spine makes S-shape
Human figures used as columns
A covered marketplace
Treasury of the Siphnians, from Delphi (530 B.C.) ~ High Classical Sculpture
Early example of use of caryatids, Phidian Style.
South Porch of the Erechtheion (\”Porch of the Maidens\”), Athenian Acropolis (421-425 B.C.) ~ High Classical Sculpture
Modification – eliminated frieze to lighten up look (so caryatids didn’t look like they were carrying as much weight) – makes it look more harmonious, weight-shift pose in all figures, Phidian Style.
Hermes and the Infant Dionysos, by PRAXITELES, from Olympian (340 B.C.) ~ Late Classical Sculpture
Arm extending into space, idealized face, carefully observed body, increase in anatomical accuracy.
Apoxyomenos (scraper), by Lysippos (330 B.C.) ~ Late Classical Sculpture
Private moment, scraping mud off body after olympic mud wrestling, reaching out into space.
Altar of Zeus, from Pergamon (now in East Berlin along with the Ishtar Gate) (175 B.C.) ~ Hellenistic Sculpture
Sculptures along frieze, climactic action scenes.
Athena battling Alkyoneos, detail from frieze of Altar of Zeus ~ Hellenistic Sculpture
Battle of Gods and Giants.
Dying Gaul, from Pergamon (230-220 B.C.) ~ Hellenistic Sculpture
Extreme detail of realism.
Aphrodite, Eros, and Pan (100 B.C.); Seated Boxer (100-50 B.C.); Old Market Woman (150-100 B.C.) ~ Hellenistic Sculpture
New variety of subjects not seen berfore
Laocoon and His Sons (Early 1st century A.D.) ~ Hellenistic Sculpture
Serpentine and undulating forms.
Head of Odysseus (Early 1st century A.D.) ~ Hellenistic Sculpture
Shaving cream hair, loosing a sea battle (climactic action), very emotional.
Stoa of Attalos II, from Agora, Athens (150 B.C.)
Covered marketplace, columns mostly fluted (bottom portion smooth).
Theater at Epidauros (350 B.C.)
Natural amplification, hear and see very well from almost everywhere, entrance and exit=efficient with isles and pathways.