Upload
nichsara
View
1.912
Download
0
Embed Size (px)
Citation preview
Art of Classical GreeceReading:Stokstad, 119-146
Range:480-323 BCEEarly Classical, High Classical, Late Classical
Terms/Concepts:“Golden Age,” acropolis, Persian War, Delian League, Athena, Poseidon, Panathenaic Procession, Panathenaic Festival, symmetria, canon of proportions, contrapposto, caryatid, agora.
Monument List:Kritios Boy, Early Classical, c. 480 BCEPolykleitos, Doryphoros (Spear Bearer), High Classical c. 5th Century CEErechtheion, Acropolis, Athens. High Classical 421-406 BCE. Iktinos and Kallikrates. The Parthenon. Acropolis, Athens, High Classical 447-438 BCE. Lysippos, Apoxyomenos (The Scraper), Late Classical, 4th century CE
Chronological Overview
Chronological Overview
Darius and Xerxes Receiving Tribute, Apandana (Audience Hall), Persepolis, c. 500 BCE
Remember the Persians?
Xerxes Darius
Kritios Boy, Early Classical, c. 480 BCE
Myron, Diskobolos (Discus Thrower), Roman copy of an Early Classical, 470-440 BCE
Eadweard Muybridge, Man Throwing Discus, Collotype from glass negative, 1883-1886
Different Roman copies (1st-2nd centuries CE) of Myron’s 5th-century CE bronze original.
Warrior, Found in the sea off Riace, Italy, Early Classical, 460-450 BCE
Warrior (Detail), Found in the sea off Riace, Italy, Early Classical, 460-450 BCE
Warrior (Detail), Found in the sea off Riace, Italy, Early Classical, 460-450 BCE
Aerial View of Athens with the Acropolis
High (Acro) + City (Polis) = High City
The Athenian Acropolis
The Archaic Athenian Acropolis
Dimitri Tsalikanis, Reconstruction of the Archaic Acropolis c. 600-500 BCE
Destroyed Pediment from the Old Temple of Athena, Acropolis, Athens, Archaic, 600-550 BCE
Athena from the pediment of the Old Temple to Athena, Archaic, c. 600-550 BCE
Pediment Sculpture from an unknown Athenian temple, found buried on the acropolis, Archaic, c. 600 BCE
Kresilas. Pericles. Roman copy after bronze original of c.429 BCE.
The Aegean
Pericles and the Rebuilding of the Acropolis
Panathenaic Procession
The Classical AcropolisParthenon
Picture Gallery
Propylaia
Statue of Athena Promachos
Erechtheion
Temple of Athena Nike
Panathenaic Procession
The Classical AcropolisParthenon
Picture Gallery
Propylaia
Statue of Athena Promachos
Erechtheion
Temple of Athena Nike
Panathenaic Procession
Leo von Klenze. Ideal View of Athens. 1846. Neue Pinakothek, Munich.
Propylaia
Entrance, or Propylaia, of the Acropolis, Athens. (Stokstad 5-36)
• Propylaion: Monumental entrance to a sacred space or citadel
*Propylaion: Monumental entrance to a sacred space or citadel
Mnesikles. Propylaia (view from the east and northeast). Acropolis, Athens. 437-432 BCE.
Mnesikles. Propylaia (view from the east and northeast). Acropolis, Athens. 437-432 BCE.
The Classical AcropolisParthenon
Picture Gallery
Propylaia
Statue of Athena Promachos
Erechtheion
Temple of Athena Nike
Panathenaic Procession
Aerial view of the Acropolis, Athens.
The Erechtheion
Erechtheion (view from the southeast), Acropolis, Athens. 421-406 BCE.
Porch of the Maidens, Erechtheion (view from the southeast), Acropolis, Athens. 421-406 BCE.
Caryatid
Caryatid from the south porch of the Erechtheion. High Classical, 421-406 BCE.
“Peplos” Kore, from the Acropolis, Athens. Archaic c.530 BCE.
Iktinos and Kallikrates. The Parthenon (seen from northwest). Acropolis, Athens, 447-438 BCE.
Doric IonicParthenon
Cross-Section of the Parthenon
Plan of the Parthenon and its sculptural program.
Diagram of the Doric Order.
Metope
Lapith and Centaur Metope, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
Lapith and Centaur Metope, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
“Old Men” Frieze, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
Riders Frieze, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
Birth of Athena, East Pediment, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
Contest between Athena and Poseidon, West Pediment, Parthenon, Acropolis, Athens, High Classical, 450-430 BCE
The Proportions of Phidias
= (phi) = 1 = .6180
Phidias, Kallikrates, and Iktinos, Frontal View of the Parthenon, Acropolis Athens, 447-432 BCE
Phidias, Kallikrates, and Iktinos, Frontal View of the Parthenon, Acropolis Athens, 447-432 BCE
1
.618
Floor Plan of Parthenon, Interior of the Parthenon is a Golden Rectangle.
Diagram of Parthenon with exaggerated curves
Phidian Proportions and the Human Form
Athena, Attributed to Phidias, High Classical, c. 5th century CE
Athena, Attributed to Phidias, High Classical, c. 5th century CE
Cult Statue of Athena (Reconstruction), Parthenon, Acropolis, Athens, c. 5th Century CE
a
b
Cult Statue of Athena (Reconstruction), Parthenon, Acropolis, Athens, c. 5th Century CE
The Canon of Polykleitos
Polykleitos, Doryphoros (Spear Bearer), Roman Copy from Greek Original, High Classical c. 5th Century CE
“but beauty, he thinks, does not reside in the proper proportion of the elements but in the proper proportion of the parts, such as for example that of finger to finger and all these to the palm and base of hand, of those to the forearm, of the forearm to the upper arm and of everything to everything else, just as described in the Canon of Polykleitos. For having taught us in that work all the proportions of the body, Polykleitos supported his treatise with a work of art, making a statue according to the tenets of the treatise and calling it, like the treatise itself, the Canon. So then, all philosophers and doctors accept that beauty resides in the due proportion of the parts of the body.”
Contrapposto
Pythagorean Table of Opposites
Finite InfiniteOdd EvenOne ManyRight LeftRest MotionStraight CrookedLight DarknessGood EvilSquare Oblong
The Canon of Lysippos
Lysippos, Apoxyomenos (The Scraper), Roman Copy of a Greek Original, Late Classical, 4th century CE
Doryphoros Apoxyomenos
Critical Thinking Questions
1. What place does the “High Classical” have in the field of art history? How is this place problematic?
2. What was the impact of the 480 BCE sack of Athens on the sculpture and architecture of the 5th century CE?
3. Describe the difference between the canons of Polykleitos and Lysippos.
4. How is the practice of Roman copying both a help and a hindrance to archaeologists?