Notes on Ancient Greek Art

http://lmcarthur.weebly.com/greek-art-5.html Greek art and architecture is important for the enormous influence that it exerted and continues to exert on civilizations. This chapter covers a very brief period of time in comparison to the millennia covered by the chapters on Egypt and Mesopotamia. While a major characteristic of earlier periods was the relative continuity of artistic traditions, in Greece the emphasis is on change. Your main objective for this chapter is to learn the major chronological divisions of Greek history and the most characteristic examples of art produced in each. There may seem to be an overwhelming amount of material, however, what you learn of Greece now (and of Rome in the next chapter) will help you as you move through the rest of art history. Goals for this chapter include:

•Learn the order and time span of the various divisions of Greek history. •Recognize the debt that early Greek art owes to Egypt, Mesopotamia, and the Aegean tradition. •Grasp the important fact that Greek artists stepped away from their teachers to strike out in directions of their own. •Learn to appreciate the essential characteristics of the term classical --both as a period of Greek art history and as an attitude toward life. •Appreciate the role that the political makeup of ancient Greece had on culture and the arts. •Recognize the cultural domination of Athens. •Watch the transformation of Greek classicism under economic and political pressures of the fourth century. •Witness the birth of the Greek Empire under Alexander the Great and notice the changes in art that the empire brought to Greece.

Theme "Man is the measure of all things." This theme gives us a way to begin to think and talk about the human figure within Greek Art. It also addresses the Greek search for ideal mathematical proportions in the figure and in architecture. We also use the word measure to help us focus on the idea of balance, both in relation to symmetry and in relation to the mind and body. Theme continued…We also use the word measure to help us focus on the idea of balance, both in relation to symmetry and in relation to the mind and body.

Notes on Ancient Greek Art

Vocabulary

sanctuaries olpe architrave

temenos rosettes frieze

treasures black-figure metopes

stadium gloss triglyphs

oracle monumental pillars

colonnade elevations amphiprostyle

stoa doric order colonade

halos ionic order adyton

cross hatching corinthian order opithodomos

slip post and lintel stylobate

Notes on Ancient Greek Art

register peristyle stereobate

negative spaces peripteral fluted

porch stylobate necking

gable entablature echinus

facade cornice acroterion

cella raking fillets

naos abacus volute

pronaos echinus acanthus

Periods in Ancient Greece 1.Geometric 900-700 BCE (10th century-7th century) 2.Orientalizing 700-600BCE 3.Archaic 600-480 BCE 4.Transitional/Early Classical 480-450BCE

Notes on Ancient Greek Art

5.5th Century Classical 450-400BCE 6.4th Century Classical 400-320 BCE 7.Hellenistic 320-30 BCE

How it begun •By 900BCE, distinct groups all began speaking a form of the same language •3 city-states emerged, Sparta, Athens, Corinth •Coins and Alphabetic writing found a home in Greece(from Asia Minor) •These city-states banded together to fight the Persians from 490-479BCE, Athens emerged as the leader of the city-states. •However in 338BCE Phillip II came into power in Macedonia, defeated Athens and conquered the other city-states . •He was assassinated in 340BCE, his son Alexander, inherited Greece and went on the conquer most of the Asia minor and Egypt, as “The GREAT”

Religious Beliefs • polytheistic- believing in multiple gods •12 major sky gods defeated the earth gods(Titans) •Heroes were often given god like status •Also the idea of half-bloods heroes- ••• god ••• human

Notes on Ancient Greek Art

Title: Sanctuary of Apollo, Delphi Date: 6th–3rd century BCE Transition from Archaic to Classical Sanctuaries-where places sacred to one or more of the god Temenos- a sacred enclosure, which include temples and places to perform rituals. Treasuries- rooms forstoring valuable objects Stadium- an ancient greek race track with seats in tiers Oracle- a person who acted as a conduit for the gods to pass information •Thought to be the place were Apollo defeated the Python who was guarding his mother’s (the earth goddess Ge) near by. •Aegean Art?

• Home of the Oracle

Map of Delphi with Temple of Apollo (Center) Comparison of Temple Models Temple of Apollo contained •colonnade •Stoa- a columned pavilion open on 3 sides •Halos- an outdoor pavement used by Ancient Greeks for ceremonial dances

Geometric Period

Notes on Ancient Greek Art

Title: Funerary Vase (Krater) Artist: Attributed to the Hirschfeld Workshop Medium: Ceramic Size: height 42 •••" (108 cm) Date: c. 750–700 BCE Large funerary vase found just outside of Athens. Served as a narrative of funeral rituals.Top register is a body about to be cremated. Mourners expression Geometric people and animals. Bottom register is a procession of soldiers. Unlike Egyptian.

Title: Centaur Medium: Ceramic Size: height 14 •••" (36 cm) Date: Late 10th century BCE GEOMETRIC PERIOD- Named because of the geometric patterns associated with it Cross Hatching- Centaur- ••• horse ••• man -a good and a bad side Simplified elements- Hollowed body, solid limbs Slip-mixture of water and clay Found in a cemetery in 2 pieces in adjacent graves

Title: Man and Centaur Medium: Bronze Size: height 4 5⁄16" (11.1 cm) Date: c. 750 BCE Cast in bronze. Man confronts centaur after stabbing it. Simple geometric bodies. Negative space- open/unoccupied space. Most work of this type have been found in temples. Might be votive offerings to the gods http://employees.oneonta.edu/farberas/arth/images/109images/greek_archaic_classical/architecture/model_heraion.jpg

First Greek Temples •Porch-the covered entrance on the exterior of the building w/ columns it is called portico •Gable- triangular part of the building between the sides of a pitched roof •Facade- face or front wall of a building •Cella- the principal room in a temple in which a statue was housed •Naos- the principal room in a temple •Pronaos- enclosed vestibule of a greek or roman temple found in front of a cella and marked by a row of columns at its entrance

Oriental Period

(The Mantiklos Apollo)

A 20 cm bronze sculpture, early 7th century BC from Thebes

Notes on Ancient Greek Art

dedicated to Apollo, Boston Museum of Fine Arts. The inscription on the thighs in hexameter, isolated from Mantiklos after some image processing operations: "Mantiklos offers me as a tithe to Apollo of the silver bow; do you, Phoibos, give some pleasing favor in return." Apollo the farshooter with his silver bow, his preferred weapon. Mantiklos hopes that by giving this gift Apollo will sometime remember and give to Mantiklos some gift in return. ...asking for a "pleasing return (chari Fettanamoib[an])," the figurine signals its participation in the bonds of charis and chreos that join parties to a gift exchange (Deborah Tarn Steiner Images in Mind: Statues in Archaic and Classical Greek Literature and Thought Mary Depew, Reading Greek Prayers, Classical Antiquity, 16, 1997, p. 229) A similar case (and there are many more ) is the inscription of an offer to Athena on the Acropolis by Telesinos who "dedicated this, may you take delight and allow him to dedicate another", which means preserve his life so that he can later offer another sculpture.

Corinthian Pottery The black-figure technique was developed around 700 BC in Corinth[2] and used for the first time in the early 7th century BC by Proto-Corinthian pottery painters, who were still painting in the orientalizing style. The new technique was reminiscent of engraved metal pieces, with the more costly metal tableware being replaced by pottery vases with figures painted on them.

Title: Corinthian black figure amphora with animal friezes from Rhodes, Greece, ca. 625-600 BCE. 1′ 2″ high. British Museum, London. The amphora was found on the island of Rhodes at the opposite side of the Agaean mainland CorinthIt is organized in the old Geometric style organized in a series of horizontal bands. On the neck has many animals and other composite creatures. It is a black-figure pot. The black stuff is neither a pigment nor a glaze, but engobe, a slip of finely sifted clay that originally is of the same color as the clay of the pot. It becomes black after being fired in three phases.

Title: Pitcher (Olpe) Medium: Ceramic with black-figure decoration Size: height 11 •••" (30 cm) Date: c. 600 BCE The Orientalizing Period-700-600BCE -More open compositions

-More realistic but still semi abstract animals and plant life. From Corinth. Ople- wide mouthed pitcher Rosettes- Stylized flowers Black-Figure-dark figures buff background Gloss- Clay slipped with Metallic pigments Another good example of Corinthian ware and the Orientalizing style is this pitcher, or olpe. The color of Corinthian ware is distinctive: purplish-brown, reddish-brown, red, and black are painted on a lighter background. Animals are popular motifs on Corinthian ware. Some are real creatures, such as goats, panthers, lions, stags, bulls, and birds;

Notes on Ancient Greek Art

others are imaginary, such as sirens and sphinxes. Here, at the bottom right of the olpe, one head is attached to two bodies, creating a monster with combined parts, something also found in the ‘‘animal’’ style of Mesopotamia. British Museum, London. Evidence of Mesoptamian influences on Corinth is found in painted figures such as the creature at the far right, which possesses two bodies and one head.

Pair Share: Compare the Funerary Krater and the Olpe

Archaic Period •600-480 BCE •Artist began to fight for commissions in the flourishing city-states •Works of Art became monumental or large scale. •Temple architecture became more elaborate and complex •Elevations-the arrangement, proportions, and details of any vertical side or face of a building •Doric Order and Ionic Order Emerge in Archaic period

Title: Temple of Hera I, Paestum (Ancient Poseidonia) and Hera II (In Foreground) Date: c. 550–540 BCE (Hera I) and c. 470–460 BCE (Hera II) Post –lintel Peristyle- columns on all 4 sides Peripteral- Temples with a single peristyle plan. Doric Order

Pair share http://employees.oneonta.edu/farberas/arth/images/109images/greek_archaic_classical/architecture/model_heraion.jpg http://farm3.static.flickr.com/2431/3795660894_4802c0e347_o.jpg

Temple Vocabulary

Notes on Ancient Greek Art

Stylobate-stone foundation on which a colonnade stands Entablature-horizontal elements above the capital Cornice-up most section of a classical entablature Raking – type or cornice, formed at the junction of two slanted cornices Pediment- The triangular gable found over the narrow ends of a building Echinus-part of capital above shaft (Doric) Abacus- part of capital above echinus (Doric) Architrave-plain flat band on top to capital Frieze-on top of architrave, decorative band Metopes-(Doric) frieze alternates these flat areas with decorative Triglyphs Triglyphs- (Doric) frieze alternates these decorative with flat areas Metopes Entasis- columns that swell in the middle •Widely flared capital •Entasis- Columns that swell in the middle, contract at the top •Energy, uplifting quality •9 columns, in the front façade •Row of columns in the middle of the cella •Adyton- small room at end of the cella •Thought to have contained statue of another deity as well probable Zeus

Title: Reconstruction of the West Façade of the Temple of Artemis, Korkyra

(Corfu) c. 600–580 BCE •One of the Few surviving examples of Greek Pediment work •Figures were carved on separate slabs then installed •9 ft. Tall at the peak (pediment space)

Title: Gorgon Medusa Medium: Limestone Size: height of pediment at the center 9'2" (2.79 m) Date: c. 600–580 BCE High Relief- carving method were the images strong project from the background Flying Medusa, Pegasus, Felines, Dying humans, and Chrysaor and his brother, the winged horse Pegasus, were not born until Perseus chopped off Medusa's head. Chrysaor was also said to be born from the neck of Medusa, whereas Pegasus was born from Medusa's blood.

Title: Reconstruction Drawing of the Treasury of the Siphnians, Delphi Sanctuary

of Apollo, Delphi. c. 530–525 BCE Ionic Order Pronaos with Caryatids- females columns with draped ropes Antes- square pillars. Pedestal- platform

Title: Battle Between The Gods and the Giants Medium: Marble Size: height 26" (66 cm) Date: c. 530–525 BCE

Notes on Ancient Greek Art

Overlapping figures, carved at various depths, same height, feet on groundline. Frieze carving. • Much more detailed version of this story than the one on the pediment at Corfu. • Depicts Artemis and Apollo chasing a giant while the lion pulling a goddess’s chariot attacks another giant. • This was originally embellished with color that has worn away over time.

Title: East Pediment of The Temple of Aphaia, Aegina Size: Width about 49' (15 m) Date: c. 490 BCE http://www.sandrashaw.com/images/AH1L15Peds.jpg •Rendered in 3-d Forms nor reliefs •Fallen warriors, with erect goddess in the center, taller than everyone else •Goddess has protectors •Sculpture were stolen in 1811 were stolen while Greece was under Turkish occupation, 1813 they were purchased Prince Ludwig I of Bavaria

Title: Dying Warrior Medium: Marble Size: length 6' (1.83 m) Date: c. 500–490 BCE The dying warrior wears the pain on his face and body movements. Subtle modeling conveys the softness of flesh and the toned muscle of the body. Filling the triangular space Donald Duck. Intro to the greek human form

Title: Standing Youth (Kouros) Medium: Marble Size: height 6' (1.84 m) Date: c. 600 BCE Freestanding sculptures- made from wood, terra cotta, marble from the Islands of Paros and Naxos. Life-size, Standing or striding. Brightly painted, some have names of the man or women who commissioned them Kouros – Greek word for young man. Kouroi were almost always nude. Associated with family and fertility

600 BCE still similar to Egyptian like Menkaure http://t1.gstatic.com/images?q=tbn:gUmF9UlGtLv4QM:http://witcombe.sbc.edu/menkaure/images/menkaure.jpg&t=1

Pair Share

Title: Anavysos Kouros Medium: Marble with remnants of paint Size: height 6'4" (1.93 m) Date: c. 530 BCE

Notes on Ancient Greek Art

Archaic smile- slightly upturn mouth. Egyptian figure were at least partial clothed, not anymore. No clothes does what? Shows more life-like rendering Grave Marker for fallen war hero Inspiration?

Title: Berlin Kore Medium: Marble with remnants of paint Size: height 6' 3" (1.9 m) Date: c. 570–560 BCE Kore- Greek for young Women. Korai Almost always clothed. More than 6 feet tall, found in cemetery. Crown and Thick soled clog. Might be priestess or attendant to a god. Clothes reminiscent of? Attribute- a symbolic object. Pomegranate attribute for. Persephone-daughter of Zeus and Demeter

Title: Peplos Kore Medium: Marble Size: height 4' (1.21 m) Date: c. 530 BCE Peplos- draped rectangular cloth. More feminine figure than the earlier Kore. Archaic smile. More individualized. Encaustic paint what else used encaustic paint? Recovered from the Acropolis in Athens What could she be? http://en.wikipedia.org/wiki/Kore_%28sculpture%29 Kore (Greek: Κόρη — maiden; plural korai) is the name given to a type of free-standing ancient Greek sculpture of the Archaic period made of wood, terra cotta, limestone, or white marble. There are multiple theories on who they represent, and as to whether they represent mortals or deities. One theory is that they represent Persephone, the daughter in the triad of the Mother Goddess cults or votary figures to attend the maiden goddess.[citation needed] Kouroi are the youthful male equivalent of Kore statues. They both show the restrained "archaic smile", but — unlike the nude kouroi — korai are depicted in thick drapery, ornate and (in painted examples) very colorful and often have elaborate braided hairstyles. Note the hairstyle of primal earth goddess, the Gorgon, between two lionesses at the apex of a Greek temple facade They also often have a much more relaxed and natural posture, sometimes with an extended arm. Some, but perhaps not all, korai were painted, with colorful drapery and their skin possessing a natural coloring. Such statues existed in many cities of Greece, but most important are the fourteen statues that were found east of the Parthenon in 1886 and called "the Korai of Acropolis". These statues were set particularly on round bases and were outdoor-exposed. When the Persians burned the Acropolis in 480 BC, they threw them from their bases, but some survived, and are hosted now in the Acropolis Museum. Some of them represented priestesses, while others were more simple, represented female figures and were dedicated to the goddess Athena. They have smiling faces,

Notes on Ancient Greek Art

complicated hairdressing and island-type dressing, Ionic style, their left hands holding their chiton while their right hands are holding a flower, fruit or bird. Their hair, along with some other characteristics and the folds of their clothing, were colored. Dominant color was the red for the lips and hair, red and blue for the clothes, and black for the eyes. The kores wore many colored jewels, indicating the brightness of their dressing. Thus, they symbolized the elegant, dressy Athenian of the 6th century BC. The most beautiful of the kores of the Acropolis was simpler and had a more serious appearance than the others and thus was more suited to the masculine character of Athena, to whom she was also dedicated. She had been made by Antenor, an Athenian creator, in the late 6th century BC, and was a votive of a potter named Nearchos. But there were not the korai used only as offerings. There were also the famous Caryatids of the 5th century BC, who were used as architectural supports, the Tanagraean kores etc. There is aso the famous kore of Antion, which was found in Italy, and is an original work of the 4th century BC, created by the sculptor Phanis, student of Lysippos.

Pair Share Title: Kore Medium: Marble Size: height 22" (0.55 m) Date: c. 520 BCE Impressive drapery. Large amounts of paints remain. Continued Trend to realistic scuplting. Wears a Chiron-like a peplos but much fuller, pinned at the shoulder. Also wore a Himation- draped cloak. Abundance of jewelry and elaborate hair

Quick write: Identify and Compare and contrast the two heads.

Artist: Amasis Painter

Title: Dionysos with Maenads Medium: Ceramic amphora with black-figure decoration Size: height of amphora 13" (33.3 cm) Date: c. 540 BCE

Notes on Ancient Greek Art

Decrease in the number of bands, increase in figure size. Amphora- large all purpose vase. Dionysos and Maenads- female worshippers. 2 maenads, arms around each other present. Dionysos with a hare and a small deer and wear a leapoard skin Signifies? Dioysos holds a Kantharos- wine cup

Artist: Exekias

Title: The Suicide of Ajax Medium: Ceramic amphora with black-figure decoration Size: height of amphora 27" (69 cm) Date: c. 540 BCE Artist: Exekias Recounts the story of Ajax cousin of Achilles, did not receive his armor after his death. Instead it was given to Odysseus. Humiliated Ajax killed himself. Balance? Main focus?

Artist: Euphronios (painter) and Euxitheos (potter)

Title: Death of Sarpedon Medium: Ceramic calyx krater with red-figure decoration Size: height of krater 18" (45.7 cm) Date: c. 515 BCE Red-figure- figures in red not black. Palmettes-fan shaped petal designs. Calyx Krater, handles curved up like a flower Calyx. Sarpedon (a half-blood) was killed during the Trojan War. 2 winged Figure are: Hypnos and Thanatos. Who is in the center? Foreshortening- appear forward on receding

Artist: Foundry Painter

Title: A Bronze Foundry Medium: Ceramic kylix with red-figure decoration Size: diameter of kylix 12" (31 cm) Date: 490–480 BCE Kylix-drinking cup Depictions of workshops The Foundry Painter decorated pottery using the red-figure technique in Athens during the early fifth century B.C. As with most vase-painters, his real name is unknown, and he is identified only by the stylistic traits of his work. He received the name Foundry Painter because one of his vases, now in Berlin, shows a foundry in which bronze workers are making statues. The Foundry Painter probably learned his craft in the workshop of the Brygos Painter and at some point in his career he worked with Onesimos. He also collaborated with at least two potters, Brygos and Euphronios. Greek vase-painters often specialized in the decoration of certain shapes of vases. The Foundry Painter specialized in cups. As for his style, the Foundry Painter represented figures in a less idealized, more realistic manner than many of his contemporaries.

Notes on Ancient Greek Art

- See more at: http://www.getty.edu/art/gettyguide/artMakerDetails?maker=191#sthash.wkU501cN.dpuf

The classical Period of Greek ART •160 years, •Defeat of Persians in 479 BCE •Death of Alexander the Great 323BCE •3 Parts, Early, 5th and 4th century •Humanism, realism, and idealism •Observations than from memory

Title: Reconstruction drawing of the west pediment of the Temple of Zeus,

Olympia Date: 470–460 BCE Early classical Period Doric Temple to Zeus in Olympia. Apollo helping Lapiths defeat the centaurs. Fight started over women How is Apollo different then the other?

Title: Apollo with Battling Lapiths and Centaurs Medium: Marble Size: height of Apollo 10'8" (3.25 m) Date: c.470– 460 BCE How is Apollo different then the other?

Title: Athena, Herakles, and Atlas Medium: Marble Size: height 5'3" (1.59 m) Date: c. 460 BCE Source/Museum: Metope relief from the frieze Relief? Herakles (believed to be the founder of the olympic games) hold sky up for Atlas, with the help of Athena. Contrast in Views? http://www.youtube.com/watch?v=88gXWW3qN7o

Title: Kritian Boy Medium: Marble Size: height 3'10" (1.17 m) Date: c. 480 BCE From Acropolis of Athens Slight turn of head invited viewer around Transitional figure

Pair Share With Charioteer

Title: Charioteer Medium: Bronze, copper (lips and lashes), silver (hand), onyx (eyes) Size: height 5'11" (1.8 m)

Notes on Ancient Greek Art

Date: c. 470 BCE Hollow casting-similar to lost-wax casting. Buried during a 373 BCE earthquake. Displaying makes a difference Details of the FEET! Delphi Museum VIEW 1 The "Charioteer of Delphi" is one of the best known ancient Greek statues, and one of the best preserved examples of classical bronze casts. It is considered a fine example of the "Severe" style. The sculpture depicts the driver of the chariot race at the moment when he presents his chariot and horses to the spectators in recognition of his victory. Despite the severity of the moment, the youth's demeanor encapsulates the moment of glory, and the recognition of his eternal athletic and moral stature, with abundant humility. VIEW 2 The Charioteer of Delphi is one of the most important sculptures of ancient Greece partly because it vividly represents the passage from the Archaic conventions to the Classical ideals. It exemplifies the balance between stylized geometric representation and idealized realism, thus capturing the moment in history when western civilization leaped forward to define its own foundations that braced it for the next few millennia. VIEW 3 Charioteer --though victorious-- stands with admirable modesty and faces the crowd in total control of his emotions. This Self-discipline was a sign of civilized man in Classical Greece, and a concept that permeates the art of this period. The ability to restrain one's emotions especially during the most challenging of moments came to define the entire Classical era of Greek art and thought. VIEW 4 The facial expression betrays none of the exuberance we would expect a victorious athlete to project, especially immediately following the race. Instead the athletic youth stands and stares with a natural ease that allows him to levitate in a realm between earthly and divine spaces. VIEW 5 His humility is projected with an intensity destined to captivate the viewer, as he emanates humanity and idealism through the subtle details of the hair curls, or the slight turn of the torso. The eyes fixed at the infinite with such delicate intensity must certainly be staring at the wide sea of eternity. VIEW 6 The posture of the Charioteer is well balanced, and his long chiton drapes over his abundant athletic body with architectural certainty, allowing idealism to flow through the serene parallel folds that run the length of his lower body before they begin to curl

Notes on Ancient Greek Art

neatly over his torso. The geometric folds of the chiton overlie an obvious and well proportioned muscular body, thus achieving a rare harmony between idealism and realism. VIEW 7 The Charioteer's garment, the xystis, is the typical chiton that all chariot drivers wore during the race. It spans his whole body all the way to his ankles, and is fastened high at the waist as was customary with a plain belt. The two straps that cross high at his upper back and round his shoulders are also typical of a chariot racer's attire, and they prevent the xystis from "ballooning" as the air is forced inside the chiton during the race. VIEW 8 The statue's eyelashes and the lips are made of copper, while the head band in the shape of a meander is impressed in silver, and the eyes are made of onyx. The detailed curls of his wet hair and soft beard speak of the preceding race in intimate and subtle details that lend the sculpture an aura of luxury and idealized realism. VIEW 9 The feet of the Charioteer have been modeled with scholarly realism, and exist not as a mere base for the statue, nor as a simple representation of human anatomy. Instead they act as the negotiator that instigates the delicate twist of the entire body, and infuses fluidity and lightness to the naturally heavy bronze mass. VIEW 10 Iniohos (he who holds the reins) as is his Greek name, was part of a complex of statues that included his four horses and the chariot upon which he stood. With the exception of his missing left arm, the bronze statue is preserved in remarkable state. Most of the surface details are evident as the attractive green patina has protected the bronze for centuries when it was buried underground. VIEW 11 What remains of the entire complex of statues besides the Charioteer is small parts of the horses and the reins as witnesses to the lost, grandiose, three dimensional composition. VIEW 12 Parts of the base have also survived with an inscription indicating that the statue was commissioned by Polyzalus who was the tyrant of Gela -- a Greek colony in Sicily as tribute to Apollo for helping him win the chariot race during the Pythian games.

Title: Warrior A (back) Medium: Bronze with bone and glass eyes, silver teeth, and copper lips and nipples. Size: height 6'9" (2.05 m) Date: c. 460–450 BCE

Notes on Ancient Greek Art

Source/Museum: Found in the sea off Riace, Italy. Found in the sea in 1972. Youthful body mature face. Eye ball are of bone and colored glass. Lips and nipples pinkish bronze. Once held?

Artist: Myron

Title: Discus Thrower (Diskobolos) Medium: Marble Size: height 5'11" (1.55 m) Date: Roman copy after the original bronze of c. 450 BCE Original was bronze. Caught at critical moment. Snapshot. How does he differ that other statues we have seen? http://video.pbs.org/video/980040228/

5th Century Classical •450-400 BCE •Peloponnesian Wars •Athens is an acropolis- City on a hill •Athens had ring walls and agora- marketplace

Title: Athens: Acropolis from the Air 480 BCE Persians destroy the acropolis Pericles convinces Athenians to rebuild

Title: Model of the Acropolis, Athens Date: c. 447–432 BCE Athena Nike Athena Promachos Artemis Brauronia. Proplyaia- gateway Athena Parthenos Erechitheion

Artist: Kallikrates and Iktinos

Title: Parthenon, Acropolis, Athens. View from the northwest Medium: Pantelic marble Date: 447–432 BCE Doric Temple 447 BCE work resumes Entasis columns

Artist: Alan LeQuire

Title: Athena, the Parthenon, Nashville Tennessee. Recreation of Pheidias’s Huge Gold and Ivory Figure. Size: height 41' 10" Date: 1982–1990 Phidias began his work around 447 BCE. it was damaged by a fire about 165 BCE but repaired. It continued to stand in the Parthenon in the fifth century CE, when it may have been lost in another fire. An account mentions it in Constantinople in the tenth century, however it has been a: •Christian Church dedicated to the virgin Mary

Notes on Ancient Greek Art

•Islamic mosque •Turkish /munitions storage facility •Archaeological site •Major Tourist Attraction

Title: East pediment of the Parthenon Medium: Marble Size: The pediment is over 90 feet (27.45 m) long; the central space of about 40 feet (12.2 m) is missing Date: c. 447–432 BCE Birth of Athena- Left Side- 3 goddess, reclining nude(Maybe Hercules, Maybe Dionysus) Iris the messenger of the gods standing

Title: East pediment of the Parthenon Medium: Marble Size: The pediment is over 90 feet (27.45 m) long; the central space of about 40 feet (12.2 m) is missing Date: c. 447–432 BCE 3 female figures- once thought to be the 3 fates. Now it is believed they are thegoddess, Hestia, Aphrodite, Dione Thomas Bruce Earl of Elgin “Eligin Marbles”

East Pediment Part of the east pediment still found on the Parthenon The east pediment narrates the birth of Athena from the head of her father, Zeus. According to Greek mythology, Zeus gave birth to Athena after a terrible headache prompted him to summon Hephaestus' (the god of fire and the forge) assistance. To alleviate the pain, he ordered Hephaestus to strike him with his forging hammer, and when he did, Zeus's head split open and out popped the goddess Athena in full armour. The sculptural arrangement depicts the moment of Athena's birth. Unfortunately, the centrepieces of the pediment were destroyed even before Jacques Carrey created otherwise useful documentary drawings in 1674, so all reconstructions are subject to conjecture and speculation. The main Olympian gods must have stood around Zeus and Athena watching the wondrous event, with Hephaestus and Hera probably near them. The Carrey drawings are instrumental in reconstructing the sculptural arrangement beyond the center figures to the north and south.[29]

West Pediment The west pediment faced the Propylaia and depicted the contest between Athena and Poseidon during their competition for the honor of becoming the city's patron. Athena and Poseidon appear at the center of the composition, diverging from one another in strong diagonal forms, with the goddess holding the olive tree and the god of the sea raising his trident to strike the earth. At their flanks, they are framed by two active groups of horses pulling chariots, while a crowd of legendary personalities from Athenian mythology fills the space out to the acute corners of the pediment.

Notes on Ancient Greek Art

The work on the pediments lasted from 438 to 432 BC, and the sculptures of the Parthenon pediments are some of the finest examples of classical Greek art. The figures are sculpted in natural movement with bodies full of vital energy that bursts through their flesh, as the flesh in turn bursts through their thin clothing. The thin chitons reveal the body underneath as the focus of the composition. The distinction between gods and humans is blurred in the conceptual interplay between the idealism and naturalism bestowed on the stone by the sculptors.[30] The pediments no longer exist. http://www.sandrashaw.com/images/AH1L18Peds.jpg

Title: Lapith Fighting A Centaur Medium: Marble Size: height 56" (1.42 m) Date: c. 447–432 BCE Doric Frieze. 92 Metrope Reliefs of Battle scenes “X” Fluid motions Man's Triumph Represents hard muscle soft flesh

Title: Horsemen Medium: Marble Size: height 41•••" (106 cm) Date: c. 447–432 BCE Source/Museum: Detail of the Procession, from the Ionic frieze on the north side of the Parthenon / The British Museum, London. Ionic Frieze – represents a ceremony Men ride atop strong horses with graceful but physically study walkers. Represents Athens as a healthy, independent, by governed by a democracy who recieves favors from the gods

Title: Horsemen Medium: Marble Size: height 41•••" (106 cm) Date: c. 447–432 BCE Part of the precession Frieze, women as tall as horse, wrong propportions Top in high relief then bottom of sculpture Blue background, red and yellow clothes

Title: Erechtheion. View from the east. Porch of the maidens at left; north porch can be seen through the columns of the east wall Date: 421–406 BCE 2nd largest building in Acropolis Dedicated to many god’s- houses Poseidon's rock Scared Spring of Erechtheus (former king of Athens) Influenced by Demeter ••• man ••• serpent, Kekrops, founded Athens judge of Poseidon and Athena The sculptor and mason of the structure was Phidias, who was employed by Pericles to build both the Erechtheum and the Parthenon. Some have suggested that it may have been built in honor of the legendary king Erechtheus, who is said to have been buried nearby. Erechtheus was mentioned in Homer's Iliad as a great king and ruler of Athens

Notes on Ancient Greek Art

during the Archaic Period, and Erechtheus and the hero Erichthonius were often syncretized.

Title: Porch of The Maidens (South Porch), Erechtheion Medium: n/a Size: n/a Date: Temple 430s–406 BCE; porch c. 420–410 BCE 3 porches, east, south, and north North Porch- Ionic South porch, porch of the Madiens- 6 Caraytids, doric capital but ionic entablature 3 and 3 leg bends Weakest point?

Artist: Kallikrates

Title: Temple of Athena Nike Date: c. 425 BCE Ionic Order- Amphiprostyle- porch at each end Porch facing city is blind- no entrance to cella surrounded by a parapet- low faced wall

Title: Nike (Victory) Adjusting Her Sandal

Medium: Marble Size: height 3' 6" (1.06 m) Date: Last quarter of the 5th century (perhaps 410–405) BCE Winged figures named “Victories” From Parapet Gracefully bends, chiton slips of shoulder, Texture appears delicate a light, wet silk “discreetly erotic image” The parapet relief was created late during the Peloponnesian war (circa 410 BCE), after the Athenians suffered several humiliating defeats that placed the fate of their empire in jeopardy. The sculptures depict victory, repeated over and over around the structure in a monotonous manner with little variety in form or activity. Instead of a narrative the artist’s interest revolves around the intricate folds of the drapery of Nike’s chiton as it flows around the body seemingly oblivious to the laws of nature or the actions of the figure under it. The craftsmanship of the relief is exquisite and reveals a change in focus from the human anatomy and narrative structure to a more formal (and some would say superficial) preoccupation with line and contrast as the fabric twists and turns more in order to create an impression, and less to realistically describe physical events. In this sense, the figures of Nike derive their meaning and importance from ornamentation and flair. Perhaps the relief was meant to be a distraction for the brutal reality of the enduring war, or simply the enchantment with the accurate representation of the figure had run its course and new aesthetic concepts were explored. In any case, the relief sculptures of the parapet of the temple of Athena Nike can be seen as a prelude to the later stylistic conventions of Hellenistic art. Nike Adjusting her Sandal is a characteristic example of this new developments with the depiction of the transparent drapery that not only reveals the body underneath in all its

Notes on Ancient Greek Art

glory, but it also implies the development of artists who, having mastered human anatomy look forward to unexplored ways to use the figure as an expressive medium, and to exhibit their aptitude.

Artist: Polykleitos

Title: Spear Bearer (Doryphoros), also known as Achilles Medium: Marble (tree trunk and brace strut are Roman additions) Size: height 6'11" (2.12 m) Date: Roman copy after the original bronze of c. 450–440 BCE The Canon of Polykleitos- rules that constructed the perfect human form Relationships of body parts, tension vs. relaxation. Relationships in weight building Contrapposto- cross-balancing of supporting and free elements Upper body supported on one leg Movement vs stationary Tension

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Title: Grave Stele of Hegeso Medium: Marble Size: height 5'2" (1.58 m) Date: c. 410–400 BCE Carved in low relief Steles banned from 600-420BCE Women's role was respected in the Family Simple Individual styles Quiet moment unlike the Ancient Near East Public cemetery A contemplative seated woman picks jewellery from a box held for her by a standing slave-girl. The jewellery would have been painted on to the marble surface. The deceased woman’s name is inscribed above. The relief was found in the ancient cemetery of Athens, the Kerameikos. Today a replica stands in situ, out of doors. The original was moved under cover in the mid twentieth century.

Classical Art of the 4th Century •404BCE Spartans defeat Athens •403BCE Athens rebels kills Spartan leaders to restore democracy •Athens does not regain empire dominence, but art thrives •Plato opens school outside of Athens with student Aristotle •Aristotle teaches then Alexander the Great one of his students •Greeks undertook innovative Projects in Architecture

Title: Plan of Miletos, Ionia (Present-Day Turkey), with Original Coastline. Urban development changed to a orthogonal plan- or mathematical grid system Perfection through reason

3 zones -sacred -public -private Limits- 10,000 citizens

Notes on Ancient Greek Art

3 classes -artisans -farmers -soldiers All Greek cities were being rebuild in this model…however In rougher terrain somestreet become stairs

Title: Tholos Date: c. 380–370 BCE Source/Museum: Sanctuary of Athena Pronaia, Delphi Tholos- circular plan Usually shrines or monuments

Title: Plan and Section of the Tholos Columns on outside Inner wall columns on inside Originally dedicated to the worship of an Earth Goddess, the shrine was eventually occupied by Olympian deities, Athena in particular. A guardian of wisdom and spiritual consciousness, Athena continued the ancient veneration of the feminine principle and brought devotion to the Earth Mother into the Classical Age of Greece. The Tholos temple, built in the early 4th century BC, has an unusual circular shape. This shape and the leaf-adorned capitals of its Corinthian columns are representations of the sacred forest groves of the old Earth Goddess religion. Outside Doric inside Corinthian Columns attached

Mausoleum of Halicarnassus Another of the 7 Ancient Wonders of the World was the Mausoleum of Halicarnassus. It was a massive tomb, built in the city of Halicarnassus, in Asia Minor. 377 B.C. He left control of his kingdom to his son, Mausolus., his queen, Artemisia, controlled most of southwest Asia Minor. He died in 353BCE, Wife Drank him… The result was huge and unlike anything ever seen before. Stone lions guarded the stairway up to the tomb. The building itself was 140 feet high. The bottom third was solid marble. The middle third contained Greek columns. The top third was a pyramid. On the very top was a large stone sculpture showing Mausolus and Artemisia standing side by side in a chariot. The whole thing took many years to build. A series of earthquakes during the Middle Ages shattered, then looted the tomb

Artist: Skopas (?)

Title: Panel from the Amazon Frieze, south side of the mausoleum at

Halikarnassos Medium: Marble Size: height 35" (89 cm) Date: Mid-4th century BCE Source/Museum: The British Museum, London Ionic Freize Herakles and Theseus, and the subsequent fierce battle with the Amazon women an axe once owned by the Amazon queen, Hippolyte, was housed at Labraunda

Notes on Ancient Greek Art

Artist: Praxiteles or his followers

Title: Hermes and The Infant Dionysos Medium: Marble, with remnants of red paint on the lips and hair Size: height 7'1" (2.15 m) Date: Probably a Hellenistic or Roman copy after a Late Classical 4th-century BCE originalEquilibrium between simple and ornate Changed the Canon…males 8 heads tall not 7 or 6.5 Light hearted moments, dreamy like expressions, no more all powerful god sculptures Teasing baby with a bunch of grapes Compare to Pepy II Figure off balance need to lean on a post Contrast??? Interactions

Artist: Praxiteles

Title: Aphrodite of Knidos Medium: Marble Size: height 6'8" (2.04 m) Date: Composite of two similar Roman copies after the original marble of c. 350 BCE NEW IDEA!!!! Frankenstein- restored from many copies and restoration This type of restoration would rarely be done today Preparing to take a bath, arm emphasizes her nakedness Well-toned, thick body shows and athletic strength Semi-seductive pose Places in Shrine to Aphrodite, 100’s of copies- made 50 survive today

Artist: Lysippos

Title: The Scraper Medium: Marble Size: height 6‘9” Date: Composite of two similar Roman copies after the original marble of c. 330 BCE S Curve Claimed to be entirely self-taught Tousled hair and dreamy look makes it seem like he wasn’t paying attention Breaks into the surrounding space. Elongated legs Wider pose

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Artist: Lysippos

Title: Alexander The Great Medium: Marble fragment Size: height 16 •••" (41 cm) Date: Head from a Hellenistic copy (c. 200 BCE) of a statue, possibly after a 4th-century BCE original. Copy of Lysippos Figure idealized to represent and convey messages What message are you getting? Could the artist influence the message? Lysippos and Alexander During his lifetime, Lysippos was personal sculptor to Alexander the Great; indeed, he was the only artist whom the conqueror saw fit to represent him. A recently-discovered epigram of Macedonian Poseidippus, in the anthology represented in the Milan Papyrus, takes as its inspiration a bronze portrait of Alexander: Lysippos, Sicyonian sculptor, daring hand, learned artisan,

Notes on Ancient Greek Art

your bronze statue has the look of fire in its eyes, that one you made in the form of Alexander. The Persians deserve no blame. We forgive cattle for fleeing a lion. Lysippus has been credited with the stock representation of an inspired, godlike Alexander with tousled hair and lips parted, looking upward.[5] One fine example, an early Imperial Roman copy found at Tivoli, is conserved at the Louvre.

Title: Alexander the

Great, Four-Drachma Coin Issued by Lysimachos of Thrace Medium: Silver Size: diameter 1•••" (30 mm) Date: 306–281 BCE Source/Museum: The British Museum, London What’s he wearing? How does this relate to head we just saw?

Title: Alexander The Great Confronts Darius Iii At The Battle of Issos Medium: Floor mosaic Size: Entire panel 8'10" X 17" (2.7 X 5.2 m) Date: 1st-century CE Roman copy of a Greek wall painting of c. 310 BCE Violent Action and dynamic scene Modeling done with a play on light, highlights and shadows What is going on? The Alexander Mosaic, dating from circa 100 BC, is a famous Roman floor mosaic originally from the House of the Faun in Pompeii. It depicts a battle between the armies of Alexander the Great and Darius III of Persia and measures 5.82 x 3.13m (19 ft x 10 ft 3in). The original is preserved in the Naples National Archaeological Museum. Battle The mosaic illustrates a battle in which Alexander faced and attempted to capture or kill Darius. Alexander defeated him at the Battle of Issus and two years later at the Battle of Gaugamela. The work is traditionally believed to show the Battle of Issus. The mosaic is held to be a copy of either a painting by Aristides of Thebes, or of a lost late 4th century BC fresco by the painter Philoxenos of Eretria. The latter is mentioned by Pliny the Elder (XXXV, 110) as a commission for the Macedonian king Cassander.[1] Alexander and Darius 1893 Reconstruction of the mosaic depiction. Despite being partially ruined, the two main figures are easy to recognize. The portrait of Alexander is one of his most famous. Alexander's breastplate depicts Medusa, the famous Gorgon, and his wavy hair is typical of royal portraiture as established in Greek art of the fourth century B.C. He is portrayed sweeping into battle at the left, on his famous horse, Bucephalos, and focusing his gaze on the Persian leader. Darius is shown in a chariot. He seems to be desperately commanding his frightened charioteer to flee the battle, while stretching out his hand either as a mute gesture to Alexander, or possibly after throwing a javelin. He has a worried expression on his face. The charioteer is whipping the horses as he tries to escape. The Persian soldiers behind him have expressions of determination and consternation.

Notes on Ancient Greek Art

Other features Darius's brother Oxyathres is also portrayed, sacrificing himself to save the King. Radical foreshortening - as in the central horse, seen from behind - and the use of shading to convey a sense of mass and volume enhance the naturalistic effect of the scene. Repeated diagonal spears, clashing metal, and the crowding of men and horses evoke the din of battle. At the same time, action is arrested by dramatic details such as the fallen horse and the Persian soldier in the foreground who watches his own death throes reflected in a shield.

History of the mosaic Production External video Smarthistory - Alexander Mosaic[2] The mosaic is made of about one and a half million tiny colored tiles called tesserae, arranged in gradual curves called opus vermiculatum, (literally, "worm work," because they seem to replicate the slow motion of a crawling worm). The mosaic is an unusually detailed work for a private residence and was probably commissioned by a wealthy person or family. Another theory states that it might have been an originally Hellenic mosaic that was looted from Greece and carried off to Rome. Italian archaeologist Fausto Levi supports the first theory.

Artist: Gnosis

Title: Stag Hunt Medium: Detail of mosaic floor Size: height 10'2" (3.1 m) Date: 300 BCE Features framed hunting scenes Made from Natural Pebbles Oversized life like figures and animals Dog’s Legs are? Balance? Space? Nature?

Title: A Vase Painter and Assistants Crowned By Athena and Victories Medium: Composite photograph of the red-figure decoration on a hydria from Athens Date: c. 450 BCE Women in the Arts, what is going on in this vase painting, what are the 2 interpretation? Who are the winged ladies?

Title: Earrings

Medium: Hollow-cast gold Size: height 2 •••" (6 cm) Date: c. 330–300 BCE Tiny works of sculpture Often placed on the ears of marble statues Women being held by an eagle(who) Lost wax casting Attributes of Hellenistic Period

Hellenistic Period •323 BCE Alexander the Great Dies, General Turned on each other for power •Artists turned away from the Heroic and focused on the everyday •Dramatic poses and subjects emotion becomes more pronounced •Even Architecture show high DRAMA•

Notes on Ancient Greek Art

•30BCE Cleopatra kills herself and it marks the end of the Period

Title: Plan of the theater at Epidauros Proscenium- raised platform for the orchestra 55 rows of seats in 2 tiers- 12,000 spectators! Theater was not just entertainment Expression through Music, poetry and Dance

Title: Theater, Epidauros

Date: 4th century BCE and later

Title: Temple of the Olympian Zeus, Athens; Acropolis in Distance Size: Height of columns 55"5" (16.89 m) Date: Building and rebuilding phases: foundation c. 520–510 BCE using the Doric order; temple designed by Cossutius, begun 175 BCE, left unfinished 164 BCE, completed 132 CE using Cossutius’s design and the Corinthian order

Corinthian Order

Capital becomes more high decorative(floral), and a skinnier column Astragal- Floral details and shoot out Dentils- Lines of blocks on the entablature DRAW Capitals!!! Doric Ionic

Notes on Ancient Greek Art

Corinthian http://upload.wikimedia.org/wikipedia/commons/6/6a/Classical_orders_from_the_Encyclopedie.png

Title: Gallic Chieftain Killing His Wife and Himself Medium: Marble Size: height 6'11" (2.1 m) Date: Roman copy after the original bronze of c. 220 BCE

2 Hellenistic Styles Emerge 1.Anti-Classical (Pergamene Style)- experimented with space and designs 2.Classical Influenced- complimented 4th century sculptures

Pergamene Style- Started during the defeat of the Gallic people or Gauls dentified as barbarians, how? EXPRESSIONISM-Artist is trying to arouse emotion from the audience Still supports wife while killing himself

Artist: Epigonos (?)

Title: Dying Gallic Trumpeter (front) Medium: Marble Size: height, 36•••" (93 cm) Date: Roman copy after the original bronze of c. 220 BCE Dying man, struggles to get up by arm is bowing Down gaze suggest death is coming Originally interlocked with 2 others including chieftain and wife.

Title: Reconstructed west front of the altar from Pergamon, Turkey Medium: Marble Size: Height of figure 7'7" (2.3 m) Date: c. 175–150 BCE Frieze Represents the war between gods and giants which become a metaphor for victory over Gauls 7.5 high Frieze- Gods fighting hybrids and human looking giants

Title: Athena Attacking the Giants Medium: Marble Size: frieze height 7'7" (2.3 m) Date: c. 175–150 BCE Athena grabs the head of a male winged figure, son of earth goddess Ge Nike aids Athena while Ge pleads for sons life Break boundaries Interactions between space and form a benchmark of Hellenistic Period The Trojan priest Laocoön was strangled by sea snakes, sent by the gods who favored the Greeks, while he was sacrificing at the altar of Neptune. Because Laocoön had triedto warn the Trojan citizens of the danger of bringing in the wooden horse, he incurred the wrath of the gods.

Notes on Ancient Greek Art

Meant to be seen from the front, unlike the defeated gauls Anguished expressions Dynamic movements

Artisits: Hagesandros, Polydoros, and Athanadoros of Rhodes

Title: Lacoon and his sons Medium: Marble Size: frieze height 7'7" (2.3 m) Date: c. 175–150 BCE http://teachers.sduhsd.net/ltrupe/ART%20History%20Web/final/chap5Greece/Laocoon%20Group.jpg

Title: Nike (Victory) of Samothrace Medium: Marble Size: height 8'1" (2.45 m) Date: c. 180 BCE (?) Stood on a stone ship high on the hillside above the city with fountain Forward bodybalanced by ? Contrast how? The Winged Victory of Samothrace, also called the Nike of Samothrace,[1] is a 2nd century BC marble sculpture of the Greek goddess Nike (Victory). Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. Contents 1 Description 2 History 3 Assessment, reception and influence 4 Gallery 5 References 6 External links Description The Nike of Samothrace, discovered in 1863, is estimated to have been created around 190 BC.[2] It was created to not only honor the goddess, Nike, 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 the Greeks considered ideal beauty. Modern excavations suggest that the Victory occupied a niche in an open-air theater and also suggest it accompanied an altar that was within view of the ship monument of Demetrius I Poliorcetes (337–283 BC). Rendered in white Parian marble, the figure[3] originally formed part of the Samothrace temple complex dedicated to the Great gods, Megaloi Theoi. It stood on a rostral pedestal of gray marble from Lartos representing the prow of a ship (most likely a trihemiolia), and represents the goddess as she descends from the skies to the triumphant fleet. Before she lost her arms, which have never been recovered, Nike's right arm was raised,[4] cupped round her mouth to deliver the shout of Victory.[5] The work is notable for its convincing rendering of a pose where violent motion and sudden stillness meet, for its graceful balance and for the rendering of the figure's draped garments, compellingly depicted as if rippling in a strong sea breeze.

Notes on Ancient Greek Art

Similar traits can be seen in the Laocoön group which is a reworked copy of a lost original that was likely close both in time and place of origin to Nike, but while Laocoon, vastly admired by Renaissance and classicist artists, has come to be seen[by whom?] as a more self-conscious and contrived work, Nike of Samothrace is seen as an iconic depiction of triumphant spirit and of the divine momentarily coming face to face with man. It is possible, however, that the power of the work is enhanced by the very fact that the head and arms are missing. The statue’s outstretched right wing is a symmetric plaster version of the original left one. As with the arms, the figure's head has never been found, but various other fragments have since been found: in 1950, a team led by Karl Lehmann unearthed the missing right hand of the Louvre's Winged Victory. The fingerless hand had slid out of sight under a large rock, near where the statue had originally stood; on the return trip home, Dr Phyllis Williams Lehmann identified the tip of the Goddess's ring finger and her thumb in a storage drawer at the Kunsthistorisches Museum, Vienna, where the second Winged Victory is displayed; the fragments have been reunited with the hand,[6] which is now in a glass case in the Louvre next to the podium on which the statue stands. The statue now stands over a supplementary platform over the prow that allows a better contemplation but was not present in the original. The different degree of finishing of the sides has led scholars to think that it was intended to be seen from three-quarters on the left. A partial inscription on the base of the statue includes the word "Rhodios" (Rhodian), indicating that the statue was commissioned to celebrate a naval victory by Rhodes, at that time the most powerful maritime state in the Aegean.[7] History

Title: Veiled and Masked Dancer Medium: Bronze Size: height 8 •••" (20.7 cm) Date: Late 3rd or 2nd century BCE Only 8 inches tall Graceful movements Intimate size and design Patron collection, made of bronze, expensive, less expensive was terra cotta

Title: Old Woman Medium: Marble Size: height 49•••" (1.25 m) Date: Roman copy, 1st century CE Realism- recreating the world as you see it Hellenistic art began depicting ordinary people from all walks of life 3 chickens and a basket of vegetables Dazed expression Textures and space interactions Thought to be Dionysus follower on the way to make an offering

Title: Aphrodite of Melos (Also Called Venus de Milo) Medium: Marble Size: height 6'8" (2.04 m) Date: c. 150–100 BCE

Notes on Ancient Greek Art

The Classical Alternative- return to the classical Reminders of which classical sculpture? Twisting stance, strong protruding knee Erotic Tension Could be holding an apple or the shield of ares the war god