was important, but little has survived.

Transcription

1 The Greek civilization attained levels of culture that have never been excelled. The standards set by the ancient Greeks have become the benchmark for Western man ever since; literally the roots of Western culture. The most striking difference of the Greek to previous civilizations was their commitment to man himself; to his capacities, his potential, and his ideals. Thus, the Greeks were history's first hum a"i 5 t 5, believing that man was the measure of all things. They wished not merely to survive, but to survive in freedom and with dignity. Among their aspirations are held the highest human values, such as justice, human rights, and honor for all. Their ideals still exert enormous influence today. For the Greeks democracy and the life "here and now" were all important. The Greek interest in man was so great that even the Greeks Gods were a"t hr0 p0 m0 rphic, that is, created in the image and shape of man. To the Greeks excellence was a goal to be pursued in all aspects of life. The attainment of perfection, of the complete realization of one's potential, was called arete (air-ah-tee). Greek art and life depended on a balance of the rational and the humanistic (emotional.) However, arete also meant an avoidance of any excess. Man, as well as his art, was conceived to be orderly, rational and harmonious in all parts. In the history of Greek culture, the Golde" Age of Greece is marked by that brief moment of balance between metaphysical interests and physical ones, between intellectual values and emotional ones, between material interests and spiritual attitudes; the fruition of perfection. Architect u r e: The temple was the most innovative structure. Architecture was based on the use of columns and orders: Doric, Ionic, and Corinthian. Sculpture (often painted) complemented structural design. Pai"ti"g: Wall paintin was important, but little has survived. Pottery: Pottery decoration was a major form until the Classical Period. Four major types developed: Geometric, black-figure, red-figure, and white-ground. Early geometric designs gave way to narrative-figural scenes illustrating Greek mythology and daily life. Sculpture: Free-standing and architectural reliefs 'Of gods, goddesses, and heroes were most typical with figures represented as types rather than individuals. Early sculpture was stiff and frontal. Archaic and Classical styles developed complete understanding of anatomy and idealized the figure. Hellenistic works stressed dramatic realism and re resented un-idealized human bein s.

2 Greek art cont'd. -2- Geometric Period B.C.: Pottery has all over patterns. Attic High Geometric amphora--mid 8th century B.c. The amphora was a vessel for storing honey, olive oil, water or wine. Sculpture included small bronze and marble animals and human figures. ~~~..:::...~P...;:e:;.:.r..:..io=d B.C.: Earliest surviving temples were built in the Doric order with squat proportions. Pottery decoration progressed to naturalistic representa!ions on black-figure and red-figure ware. Black-figure--Achilles and Ajax Playing a Board Game, red-figure--abductionof~a. Sculpture progressed from stiff figures to natural, rounded forms. Bronze and marble works were often life-sized. lassical Period B.C.: The "Golden Age" ofgreek culture and art. Both Doric and Ionic temples were constructed. Pottery declined as an art form; white-ground ware was the last major style. White-ground -Warrior by a Grave. Sculpture idealized the human form. Art reflected the general. intellectualism and self-confidence of the era. -.1'J : \W@[~J ~ <c~.', \\. ::. J \~"'-.-';;.['""_;'<'M~.~)~~~.". Hellenistic Period B.C.: Non-religious (secular) architecture became more important than before. Buildings were much larger than earlier structures. Ionic and Corinthian orders were most frequently used. Pottery was insignificant. Sculpture emphasized dramatic realism and emotion rather than Classical repose and idealism. The most famous buildings of ancient Greece are the temples. Various nonreligious buildings also developed although elaborate tombs and palaces were unimportant. Private houses remained extremely modest even in the Hellenistic Period. Although the structural systems used by the Romans and later western culture surpassed the pos t - and-i i ntel system, the decorative language developed b the Greeks continued to influence architectural desi n for many centuries... Design,,'Li,. Buildings were "sculptural" structures whose exteriors were more important than the interiors. 2. Structural and decorative elements developed from the column- based architecture of E t Crete and M cenae.

3 Greek art cont'd The human body was of proportion and scale in Greek architecture. precision, geometric clarity, and symmetry of the buildings. Architectural Orders Abacus Echmus Ioni c: It was used throughout Greece after the Archaic Period. A slender, delicate, ornate order, it was considered "feminine,ii and was pref~rred in mature temple architecture. Ionic temple--the temple ofathena Nike, J:Lk a. The Ionic column had: :::::======1 1. A curved base. 2. Proportions of: height = nine times diameter. Volute AIxJl.:us 3. Twenty-four vertical flutes. 4. A capital with a decorated echinus, double volute, and curved abacus. Corin t hian: It was developed as a decorative variant of Ionic. The major difference is the capital which contains an echinus of rising tiers of acanthus leaves, vertical volutes. and a thin abacus. ]lidoo[ Classical Architecture Athens: The Acropolis the Parthenon Stylobate ~~~~~ Athens was the site of the full flowering of the Classical style, also known as the "Age of Pericles," in the arts. It was the culmination of a golden moment in time, of perfection, which was embodied in the buildings of the Acropolis, particularly the Parthenon. The Acropolis, its walls to steep to be scaled by invaders, provided sanctuary for citizens in times of siege. Completed in 432 B. C. as a temple toathena, the patron goddess of Athens, the Parthenon celebrates her aspect as a virgin goddess. The Parthenon was Doric in nature but exoressed in a Classical manner. The sculptures were located in four sections

4 Greek art cont'd. -4- (Pediments, the Doric Metopes, the Ionic frieze, and the Naos) of the building and inteqr~ted harmoniously with the architecture. Their narrative content proclaimed the greatness of Classical Athens. The Parthenon was based on the famous geometric formula known as (see page 110 insert) the Golden Section. In addition, there are slight architecture curiosities that seem to improve the visual impression of the Parthenon thus representing the Greek ideal of arete. Some of those subtle humanistic refinements in its design are listed below. J==::::::;:LL=r=~l 1. The columns bulge slightly in the center. Ii.. 2. The columns are not equally spaced, but slightly closer together at the corners 3. The slight upward curve toward the center of the steps. 4. The platform from which the building rises and the roof above it curve ~r;.- slightly upward towards the center. Perhaps these slight deviations from mathematical exactness were intended to suggest the swelling, flowing sense of life and nature. They certainly give a sense of completion and unity. b a Scholars have had, with few exceptions, to rely on ancient literary descriptions of Greek wall paintings and speculate about their artistic development. Greek painting in from forms defined by heavy outline and flat color to increasingly illusionistic images. Etrucan and Roman painting are said to be clearly dependent upon Greek roto s. true fresco presented naturalistic figures and scenes and progressed Purposes: Early Greek sculpture was used primarily as temple decoration or as religious-commemorative works in other settings. During the Classical and Hellenistic Periods, as personal wealth increased, sculpture became more secular (worldly), and adorned private and civic structures as well as temples. Much that remains of Greek sculpture today consists of Roman copies of the originals. Design: Greek contributions to western sculpture include: 1. Sculpture in the round: natural and convincing, finished on all sides, and relief-sculpture so well rounded that it looks almost free-standing. High-relief Lapith and Centar from the Parthenon. 2. Open spaces in figures, such as between the body and the arms, revealed by the removal of unnecessary material. 3. Nude figures.

5 Greek art cont'd Contrapposto, or counter positioning. This is most easily recognized in the weight-shift poses of the late Archaic and Early Classical kouroi.. Archaic Period 1. Kour s (nude male) and kore (clothed female) fig ures were used as grave markers and votive images for temples. They represented people, not gods. The development and refinement of these figures were the major contributions of the Archaic Period to Greek sculpture. Early Archaic figures ( S.c.) 1. Stiff and frontal poses, similar to Egyptian models 2. Mop-like hair. 3. Large protruding staring eyes. 4. Very pronounced "Archaic smile" which represented the sign of life. 5. Male figures New York Kouros c. 620 B. C. a) Stood with left foot forward, weight balanced on both feet, all muscles in tension. b) Held arms stiffly at sides, fists clenched. c) Had anatomical details indicated by incised lines. 6. Female figures Peplos Kore c. 530 B. C. a) Stood with feet together. b) Held arms at sides or one across chest. c) Had anatomy completely hidden beneath full-length costumes with no folds or decoration. b. Late Archaic figures ( S.C.),(K)Critios~ c. 480 B. C. 1. More natural poses, with arms in a variety of positions. 2. Hair arranged in distinct curls or braids. 3. More natural faces: features modeled, smiles less exaggerated, eyes no longer protruding. 4. Male figures a) Stood with right foot forward sometimes. b) Had anatomical details by modeling. c) Introduced contrapoosto at the end of the Archaic Period. 5. Female figures a) Had anatomy suggested under fitted costume with folds and decoration imitating actual current fashions. b) Commonly were painted. Classical Period Sculpture of this period is divided into three styles: Transitional, Early Classical and Late Classical.

6 -6- Forms and Subject Matter 1. Free-standing a. Athletes. b. Gods and goddesses Relief sculpture a. Mythology b. Battle scenes a.;:: ~edia and Technigues 1. Use of marble dominated. 2. Introduction of life-size. hollow cast bronzes. Lost Wax Process, Poseidon/Zeus. c. 450 B.c. Design,. Free-standing figures displayed: a. Controlled, restrained poses. b. Fully developed contrapposto. c. Short wavy hair, ending in curls at the face. d. Female anatomy revealed by "wet drapery" which hung in vertical, parallel folds. Mire Acjjusting Her sandal c B. C. Artists 1. Myron, known for development of new poses in athletic figures. Myron, DisCQbQlus (Discus ThrQwer) c B.C. 2. Poly clitu S, knqwn for his famous canon of proportions (body = six and one-half heads high), and for his development of balance between tensed and relaxed muscles. Polyclitus, DoryphQrus (Spear bearer), c. 440 B.c. PhI ClI a s, famous as a sculptor and director of the Acropolis decqrations. RecQnstructiQn Qf Phidias's Athena from the Cella Qf the ParthenQn, Qriginal c B. C. 4. Pr ax itel e S, known for his new canon of proportions (body =seven and one-half heads high), the softness and grace of his figures which had swaying S-curve stures. Praxiteles, Aphrodite of Cnidus. c. 350 B. C. Hellenistic Period Forms and Subject Matter AJexander ~hc Cre.1I Laocoon and his sons, 1st century. Marble, height 5 It

7 Greek art cont'd. -7- b. Emotional subjects: sentimental, grotesque, tragic. c. Portraits of famous individuals 2. "Progressive" sculptors introduced: a. Twisting, turning, energetic movement in very high relief. b. Deep undercutting to produce rich shadows. c. Windblown drapery. d. Windblown hairstyles. e. Faces expressing anxiety, even despair. Nike of Samothrace (Winged Victory). c. 790 B. C. i ~. Nikl- W"mged VidOlY 01Samothlaa ~ Ie MariIe, height8ft (2.45 m~ louvre. Paris