Kore/Peplos Kore

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Kore-520BCE Peplos-530BCE

Archaic period 1: aristocratic world of Kouros and Kore figures. Importance of paint and color.

·      Stood in outdoor setting

Corinthian Olpe.

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600BCE

Archaic period 2: commerce, wine, and painted pottery. Corinth and Athens. Personal and civic identity and style.

·      They can trade finished products but not any original products

·      They do have olive oil and wine to trade however

·      Purpose to make a profit

Achilles and Ajax

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540 BCE

·      In the symposium the old and young men come to together to drink and bond. It is a place where the men who defend their city come to remind themselves of their role in society.

·      One may have held wine and one may have held water

·      The city of Athens is emerging

·      The two were different artists but the second seemed to have borrowed form the second artist.

·      Based on an engraver approach and gives a great deal of flexibility.

·      Not expensive materials; made of clay

·      Played a role within the elite lifestyle.

Aegine Temple of Aphaia

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500 BCE

Development of architectural sculpture. Pediments metopes, triglyphs. Doric order

Aegina, Temple of Aphaia, west pediment, greeks and Trojans

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490 bCE

Kouros and kore figure sin action. Concept of arête now encoded for all the male figures-heroic nudity, Stiffness of the forms. Aristocratic concept of the story but for general consumption.

Kritios Boy. Athens Acropolis

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480BCE

Persian wars 490-480 BCE. Battles of Marathon and salamis Citizen warriors. Contrapposto pose

·      Not symmetrical pose. Weight is shifted onto one leg

·      There was a shift

·      Greeks were defeating Persians. Citizens fought.

·      Hair is cut short. Short was citizen hair.

·      Changing concept of the kouros form timeless to momentary, contrapposto. Victories of the Persian Wars 490,480 and the rise of the value of the individual citizen. Thought and action. Birth of the Classial period.

T of Aphaia, Aegine, E pediment, Dying                                                                                          warrior

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T of Zeus, Olympia, East pediment

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470 BCE

Oath of Platea, first major construction after the Persian wars. Largest temple of the day. Contest between Pelops and Oinomoas for the Hippoedameia. Encoding narrative and social meaning in the kouros and kore forms.

·      The Persian war did not reach Olympia so it was left unharmed.

·      Pelops proposes a chariot race.

·      Pedimental sculpture

·      Approach the temple from the West so the west side of the pediment is seen first.

·      Shows men and women of different ages. Pelops is a youth while the other are men.

·      The figure in the center is Zeus. The only hieratic figure in the pediment.

Atehsn, Acropolis, Iktinos, Kallikrates, Parthenon

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447BCE

Temple of Athena Parthenos (virgin). Athenian marble paid for with Athenian silver and with the collect fees of the Delian League. Perikles and Phidias, breaking the oath.

·      Silver is the coinage of greek coins

·      Athena was the richest

·      Doric exterior with ionic elements. Refinement-bowing incline, and spacing.

·      Goes up in the middle to not look like it’s sagging.

Athens, Phidias, Athena Parthenos

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438 BCE

·      Jewel box for an ivory and gold colossal statue.

Athens, Phidias, Parthenon metope centaurs and lapiths

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447 BCE

·      Power of the centaur over the lapith

·      Overwhelming scale of the project-all metopes decorated-lapiths and centaurs, gods and giants, greeks and Trojans, Greeks and Amazons. Many hands. Level quality.

·      In the hands of a less skilled artist.

·      If you were a greek artist it was important to be here because the commission was big.

Phidias Parthenon frieze

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447 BCE

·      Sculpted area that runs the entire horizontal.

Pompeii House of the Vetti

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79 CE

Use of the visual arts to create private environments- spaces encoded with meanings. Four styles of Roman paintings

·      A lot of time and money invested in private spaces. Private spaces spoke a different kind of language- visual entertainment.

·      Four styles of roman painting-created by German archaeologist. No roman painter knew they were painting in these styles. All about deception in the paintings.

·      1^st- wall is stone. 2^nd-percieved depths. 3^rd & 4^th-(more sophisticated)- broken walls that suggest windows and other paintings.

·      Displays educational knowledge

Ostia, Insula

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2^nd C CE

Trickle down art. Variety and massiveness of visual art production and consumption.

·      People who had some money had these apartment buildings at their disposal.

·      Concrete made these buildings possible. Mass production of brick as well protected the concrete.

·      The lower story is used for shops.

·      First floor is the best place to be, the higher up you go the cheaper it is.

Forum of Trajan

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112 CE

Public architecture in service of a state cause, iconography of space- forum, basilica, colonnaded spaces (peristyle)

·      Public area, not green areas

Roman forum

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1^st C BCE

The evolution of the Roman civic space-public art.

·      Where civic duties were taken care of

·      Public worship spaces

·      Two types of religion- public and personal. Gods could be reached on personal levels.

Maison Carree

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1 CE

Conscious reuse and manipulation of the Greek forms. Setting for honorific statuary and for imperial propaganda.

Sanctuary of Fortuna

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Republican experimentation , pushing the limits. Concrete(lime, volcanic sand, water, stone matrix) hidden by a greek veneer used to dominate a cliff side. Exploitation of arches and arcades. Public buildings

·      Romans are beginning to play with different architectural ideas

·      Series of terraces used, arches

Pont-du-gard aqueduct-bridge

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16 BCE

Republican experimentation , pushing the limits. Concrete(lime, volcanic sand, water, stone matrix) hidden by a greek veneer used to dominate a cliff side. Exploitation of arches and arcades. Public buildings

·      Romans are beginning to play with different architectural ideas

·      Series of terraces used, arches

Markets of Trajan, Apolloforus of Damascus

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100 CE

Architecture and politics. Urban life intersecting with political needs. Concrete and Brick.

·      Open area for windows.

·      Home to spice markets, living areas, and public space.

·      Romans build public spaces for the public and not just a place to look at.

Flavian Amphitheater (Coliseum)

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Iconography of empire. Built with the profits of the First Jewish War.

·      Public architecture

·      Aqueduct like structure

·      Used for gladiator sports

·      Iconographic meaning-

·      First major amphitheater in the city of Rome. Major decision. Built on top of the blood of those who died in the first Jewish War.

·      The ruler who made this upset people by building a private palace on limited land in the city. Built to make citizens happy after the private building.

·      Made from concrete and stone with arches. Nonstructional columns.

Rome, Roman Forum, Arch of Titus

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81 CE

Imperial Propaganda-role of the common soldier.

·      Composite- combination of Corinthian and Ionic

·      Inherited art fro the Greek but the work of depth on this sculpture is something the Romans develop.

Augustus of Primaporta

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Layers of Iconography

·      We think it was a marble copy of a bronze statue made for the wife to have in her yard.

·      Changes made to it. Marble works different than bronze.

·      Extra support is added to the bottom for the marble to hold up the heavy top. In the bronze the extra support would not be needed.

·      He is addressing troops. He is wearing armor. Military setting.

·      The cloth is used to make you look at his head and torso.

·      When the standards are taken the region falls. Augustus got them back from the Partheons

·      Always represented as young and feral.

·      References 5^th century Greek work

·      Cupid in on his leg. Son of Venus. Reference to the divine lineage of the family.

Rome, Ara Pacis

13 BCE

Iconogrpahy associated with context and style.

·      Originally given to Augustus by the city of Rome.

·      Solid marble that is a permanent structure of Augustus.

·      Fruitfulness of agricultural production is seen through the animals

·      Speaks an allegorical form of language.

·      We get the mythical and actual ruler of Rome going against each other.

·      Shows a march about an event

Column of Trajan

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112 CE

The historical narrative, the value of the real event. Real people as subject matter. Trajan, his army, and the Dacian Wars.

·      Escape from the congested public environment.

·      Forum presented space for people to be in.

·      Monument of sacrifice of the soldiers.

Pantheon

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118 CE

Dome set in the cylinder fronted by post and lintel forms. Stone building hiding concrete dome in cylinder covered in brick. Iconography of empire and imperial majesty.

·      Shows importance of all the gods.

·      Used for certain types of worship perhaps.

Flavian Woman

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90 CE

Private portraits of woman of status. Technical changes increased use of the running drill for deep undercutting

·      In Roman society you could climb the ranks of status.

·      Portraits of status for often commissioned.

·      Middle aged woman

·      The hair is very important and was cut with a running drill (drill that is kept moving).

·      Status acquired though wealth rather than birth.

Ostia, Funerary relief-vegetable vendor

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2^nd C CE

·      She wants to be remembered for selling vegetables.

·      Wastebasket would mean more than just be a wastebasket. Perhaps it is a building (apartment block) that she owns. She is celebrating her ownership.

Roman Art

Contexts- public (empire and urban) and private (house).

Iconography- imperial rulership, multiple religions, person iconography (the role of the house)

Style- influences of the Etruscans, Greeks, ancient near east, Egypt, and celts. Style as iconography. Style as dictated by context.

Composition- continued value placed on the human form and on the narrative. Sometimes continued interest in the use of rational space and figure treatment. Deception, surprise, visual engagement (the value of the sensory experience- audacity of form.)

Syria, Dura Europos

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3^rd C CE

·      Needed to aid to the Jewish population

Syria Dura Europos, Synagogue, Torah Wall     Samuel anointing David

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245 CE

Diaspora Jewish communities. Jewish narrative art. Mixing hieratic and rational narrative concepts. Power of the human form and the human story- Second commandment.

·      Though shall not create a grave image of the lord- 2^nd

Rome catacomb for saints peter and marcellinus, painted ceiling Good Shephard and scenes of Jonah and the Whale

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4^th C CE

Early Christian art in Rome- continuity with non-Christian Roman Art. Importance of story telling, the value of rational figures in rational space interacting in a rational way- classicizing forms. Sustained power of the Greek Visual tradition. Martyrs and athletes for Christ – persecution. Jesus followers as non-Jews- Gentile world of the human Empire.

·      Privilege to be crucified. Jesus was.

·      The female followers went to his tomb to perform a ritual. They found an angel and not the body of Jesus.

·      Christ short for Priestess. He was anointed.

·      Followers saw a concept of reformation of Judaism.

·      Martyrs died for their faith

·      Contrapostal forms and idealized male figures

·      The idea is that you cannot run from the Christian god.

·      All about death and resurrection. Those buried in the catacomb hope to be born again.

·      Painted very Roman like. Could probably not even be Christian.

Rome, Old Saint Peter’s

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319CE

Triumph of the church- emperor Constantine’s conversion, 312 CE? Creation of a Christian architecture for worship-redefining the basilica space-creating hierarchy-nave, aisles, lapse. Discovering architecture that marks topography-the central plan church-martyrium  church. Focus on the altar Eucharistic feast and the celebration of the mass.

·      By the end of the 4^th Century the only major religions were Christianity and Judaism.

·      Christianity is the true and only religion.

·      Hierarchy is very important

Rome, Santa Constanza

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337 CE

Longitudinal vs. central plan

Hierarchy of the spaces. Basilica style will be the main church.

Ravenna, Mausoleum of Galla Placidia

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425 CE

Joining the plans and adding the cruciform shape. Hidden Iconography. Reference to Jesus’ death for humanity and Jesus’ resurrection. Jesus Christ- the new faith of Christianity, the text- New testatment-Gospel by Mathew, Mark, Luke, and John with additional writings.

·      Based on four sacred texts 

Inside of Mausoleum

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·      Type of work that usually belonged on the floor. Mosaic was made from stone, baked clay, or glass.

·      Gold colors were two pieces of glass covering gold foil.

·      Mosaics, battle of the styles. Flattening the forms.