Psiax Vase c. 525 B.C.

• Shows Heracles wrestling the lion.

• Paint black glaze on.

  • outline is made with sharp instrument / tool

  • outline of figures etched before the vase is fired.

• Black glaze and also Purple glaze

Euphronios vase c. 510 B.C.

• Black background and leaving the figures of the foreground whitish red.

• Doing this brings the figures into the foreground and into the direct focus of the pictures.

• It also enables the viewer to see the lines of the figures.

• This challenges the artists to create their figures with even more Naturalism

• painting the lines with white glaze

Diagram of Garments

• only female

• dress (Chiton)

• cape (Peplos)

"Pepros" Kore c. 530 B.C.

Doric Style Figure

Acropolis c. 437-432 B.C.

MNESIKLES

• Dynamic symmetry

• Temple of Athena Nike. c 421-405 B.C.

• Erechtheum, c. 425-405 B.C.

  •  

    • Not the usual temple

    • ancient olive tree

• North porch.

  •  

    • 4 maidens

    • weight bearing leg (column)

    • free leg

    • would be copied later by the Romans

Parthenon 448-432 B.C.

Classical Doric Architecture

• Doric style (No base, column shaft rest directly on foundation)

• column has a simple rounded capital (Doric style)

• Frieze are alternating (alternating metopes and triglyphs)

Parthenon : Pediment

Parthenon : Frieze (west)

• portrays struggle between Athena and Poseidon for Athens

Parthenon : Frieze (east)

 Three Goddesses, 438-432 B.C.

• made of marble
• over life size
• Pheridian style
• Birth of Athena from the head of Zeus

Parthenon: Metope (Lapith & Centaur)

c.460 B.C.

Marble

Apollo is the central figure.

Doryphoros c. 450-440 B.C.

Polykleitos

Bronze copy of Roman Marble original 

Apoxyomenos c. 330 B.C.

LYSIPPOS

aka "the scraper"

• Scraping the excess oil off his skin.

• Arm would be unable to support itself, their would have been a supporting marble bar.

• The scale of the body is above average.

• Head looks to small in proportion to the body.

• Elongation of the body. (ex. Female models are way above the average hight.)

• Fluidity and drama.

• The outstretched arm is engaging the viewer. He is bridging the space between viewer and sculpture.

Apollo from Veii c.510 B.C

• Life size and terracotta.

• Hollow sculpture.

• Etruscan piece very closely imitating the Greek Archaic style.

• Key Difference !!! Apollo was clothed. (A male god in Greek art would have been nude)

She Wolf with Romulus & Remus c.500 B.C.

Bronze cast

2 babies are not part of the original

mane is implied on the Wolf giving it a "kingly" symbolizm.

Temple of "Fortuna Virilis"

Rome late 2^nd Century B.C.

• Entire temple is elevated due to foundation

• Steps only on front end, not all 4 sides

• Free standing columns are on front end, because roman practices are closer to Etruscan.

• Looks like there's columns all the way around but not

• Engaged column – not a true column, attached to wall, not free standing

• Columns shafts rest on base. Making it an Ionic temple.

• deep overhanging porch caused by freestanding columns (front)
• volcanic stone made to look like marble

• Columns are much more slender then diameter

• Ionic is more decorative and elaborate

Colusseum c. 72-80

• public works

• entire area around the Colosseum is turned into a private estate. But would be turned into public property (a community area).

• Romans develop new architectural system different from the Greeks.

• Vaulted arches

• series of concentric ovals.

• A concrete skeletal system that allows for large amount of people in, around, and on different levels.

• Amphitheater by the Colossus (statue of colossus in the same area). This is were it gets its name.

• Built into an empty man made lake. This would make the base of the under ground service and storage areas under the Colosseum.

• Could flood the arena for Naval battles.

• canopy's that could provide shade to the spectators in the Colosseum.

Pantheon c.118-25

• another public building

• Enter Roman temple, head on, from the front.

• The colonnades of the forum restrict your line of sight only to the temple in front of you.

• Concrete makes the dome of the Pantheon possible.

•  Dome (concrete)

• Dome RESTS on a DRUM !

• Keystone usually keeps the dome from imploding. NO keystone in the Pantheon. How ?

  •  

    • Thiner and lighter towards the top of the dome. Thicker on the supporting sides.

    • All of the support is on the THICK sides of the building.

    • The drom (in between the dome and the supporting side wall) the Rotunda.

    • The relief design (decorative dome squares) also remove unnecessary weight of the concrete.

Arringatore 

Aulus Metellus , early 1^st c. B.C.

• Member of the Roman ruling elite

• Etruscan name, gives a sense of greater entitlement and

• Bronze, hollow cast, portrait

• Romans learned from Greeks on the Naturalism on how to make people naturalistic

• individualizing facial features (eyes, nose, things that distinguish us) allow the person to be recognized by others

• Rhetorical gesture (in a public forum), to gain attention. Gesture is a reinforcement of what the person is saying.

• Clothing. Romans show their figures with clothing.

  •  

    • Roman togas were there for generations, but how it is worn and cut within a generation sets it apart from other time periods.

    • Toga, exclusively Roman Males could wear them.

• Footwear. (no surprise to the origin of the modern Designer companies).

  •  

    • Very detailed

    • straps

    • important status symbol

Augustus in Armor 

copy of c. A.D. 20 after an original of c. 15 B.C.

Marble (original was Bronze)

• Merging of both Greek and Roman traditions

  •  

    • portrait, unique facial features

    • way of addressing you. Rhetorical gesture, hand up and slightly outstretched.

    • Feet, (reflecting spear carrier of polykleitos) very subtle.

    • Although the previous work is very old to the Romans, they still know the highlights of Greek Art.

    • For Augustus to be show in a similar manner reflects the idea that there is a “new Athens” another “golden age” like that of the Greeks.

    •  manipulative imagery is exemplified in this statue of Augustus (looking like the spear carrier).

    •  

      • Barefoot (no shoes) means he (was dead) has joined the gods

Arch of Titus (frieze) c.81

• Triumphal Arch (victory monument)

• built to celebrate his victories in Palestine (conquest of Jerusalem).

• On both sides of the inside of Arch.

  •  

    • Celebration march with Emperor

    • massive amounts of treasure that were the spoils of war

    • bring back religious objects

      •  

        • showbread table

        • menorah

        • silver trumpets

        • Signs being carried telling what the object is and what it is worth.

        • Financing for their war

Arch of Constantine c.312-15

Rome

 recycles lots of elements from other Roman arches and monuments

• bound captives (8 figures on top) come from the figures of the Column of Trajan.

• Round Friezes are in style of Hadrian. Classical Roman art. Creating a spacial relationship.

• Long Frieze done by Constantine. Showing Constantine giving the Roman citizens some of the spoils of war. Strict rows of people. Not as naturalistic as the Round Friezes. Constantine has his court on the raised platform. He is the center of the Frieze. While other figures overlap, no one overlaps the figure of Constantine. He is the center both actually and psychologically of the frieze.

Arch of Constantine :  Frieze

• Long Frieze done by Constantine. Showing Constantine giving the Roman citizens some of the spoils of war. Strict rows of people. Not as naturalistic as the Round Friezes. Constantine has his court on the raised platform. He is the center of the Frieze. While other figures overlap, no one overlaps the figure of Constantine. He is the center both actually and psychologically of the frieze.

Arch of Constantine : Frieze and Medallions

• Round Friezes are in style of Hadrian. Classical Roman art. Creating a spacial relationship. 

• Long Frieze done by Constantine. Showing Constantine giving the Roman citizens some of the spoils of war. Strict rows of people. Not as naturalistic as the Round Friezes. Constantine has his court on the raised platform. He is the center of the Frieze. While other figures overlap, no one overlaps the figure of Constantine. He is the center both actually and psychologically of the frieze.

 

Old St. Peter's c.319-329

Rome, Italy

the greatest Constantinian Church.

• original torn down and replaced by St.Peter's Basilica today.
• high foundation
• flight of steps to entrance
• Atrium
• Longitudinal axis through the building
• Central Nave
• side Aisles on either side of nave
• Transept (area before Apse)
• Apse (alter)
• Separate baptistery

Santa Constanza c. 350

Rome, Italy

• Daughter of Constantine

• Central Plan

• accommodates people traffic. Move around the center in a continuous traffic flow.

• Ambulatory (circle area) a place for pedestrian traffic

Archangel Michael c.525-50

Ivory Diptych (wax note pad)

• Feet are on steps or above steps ? One wing behind column other in front ?

• It doesn't matter. What matters is the Physical reality , the world of the senses.

• But Christianity is not concerned with the Physical reality (world of senses).

• the power of the angel is NOTW, nor does he inhabit earthly space.

• the niche behind him appears to lost 3-D.

• In relation to him it is purly symbolic and ornamental.

• So that he seems to hover rather than stand.

San Vitale c. 526-47

Ravenna, Italy

• 8 sided structure, central nave, ambulatory area around nave, and apse.

• Extend the nave area into the apse , breaking the ambulatory area.

• Gallery or balcony (2^nd level) a second ambulatory area. 

• Separation of male and female during worship.

• The two levels would allow for this separation

• Uneven mosaic tiles (Tesserae), allow the candle light to hit the mosaic causing it to shimmer.

•  When looking from below the columns it will appear that it is floating.

• Shimmering walls give the walls a immaterial feeling. Like they are moving.

San Vitale : Justinian and Attendants c.547

• Bishop on the right side of Justinian
• Purple and gold colors of the Emperor are worn by Justinian
• “Halo” shows the important figure, someone who is in the favor of the gods. Chosen by god.
• Justinian is the central figure of the mosaic.
• Behind (Left side) him is the entire apparatus of the empire. His court and soldiers.
• Closest in the foreground is the Bishop Maximianus.
• The Bishop is the tallest figure in the mosaic.
• Behind (Right side) the Bishop is God.
• Bishop has his name above.
• State or Church ? Artistic tension.

Hagia Sophia 532-37

Anthemius of Tralles and Isidorus of Miletus

Istanbul, Turkey 

• Concrete structure (last of the concrete structures)

•  Dome (Roman feature) resting on pendentives 

• Smaller domes serve to disperse the weight of the dome.

•  Combination of both Central and Basilica plan

• Central plan with a Longitudinal axis.

•  Dome rests on Pendentives which are supported by Piers.

• Pendedtives are the intermediaries between the circular dome and perpendicular piers.