Term 1

Definition 1

  • Figure of Woman from Syros (Plank Idol)
  • Cycladic Period
  • 3,000-1,600 (1,500) BC
  • Nude woman with arms folded across abdomens. About a foot and a half tall. Large simple triangles dominate the form.
  • Primarily funerary offerings. Usually palce on their backs in the graves lying down, like the deceased. Scupture emphasizes on breasts and pubic area. Probably a fertility figure. 

Term 2

Definition 2

  • Male lyre player, from Keros
  • Cycladic Period
  • 3,000-1,600 (1,500) BC
  •  Marble. Male figures occur as seated musicians. Simple geometric shapes and larg flat planes.
  • Wedged between echoing shapes of chair and instrument, he may be playing for the deceased in the afterlife. Stylized, realisitic, modern.

Term 3

Sir Arthur Evans

Definition 3

  • was a British archaeologist most famous for unearthing the palace of Knossos on the Greek island of Crete and for developing the concept of Minoan civilization from the structures and artifacts found there and elsewhere throughout the eastern Mediterranean.
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
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Term 4

Legend of Minotaur

Definition 4

  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  •  King Minos had angered the Greek God Poseidon by not sacrificing a great white bull that had been sent to him. Poseidon decided that he would punish King Minos by making his wife Pasiphae fall in love with the bull. Pasiphae hid herself within a hollow wooden cow statue and the bull found her attractive, the result of their 'union' unfortunately was their son the Minotaur a fierce half bull, half man like creature. The Minotaur was kept inside a huge labyrinth built by the chief architect at Knossos, Daedalus. King Minos had defeated King Aegeus of Athens and had threatened to destroy his country unless he gave seven young women and men for sacrifice to the Minotaur every nine years.

    Theseus, King Aegeus's son had no idea why every nine years his father was so sad and begged his father to tell him why. Theseus decided that he must go to Crete as one of the prisoners and slay the Minotaur. King Aegeus protested, Theseus was his only son and heir to the throne, and no one had ever returned. Beat minotaur but forgot to change the sails to black, King A dies.

Term 5

Definition 5

  • Palace at Knossos
  •  Minoan Period
  • 3,000- 1,400 (1,500) BC
  • Only palace we look at, Greece never unified. No fortification in palace construction. Peaceful location, places for storage, bussiness, laws, etc.
  • Legendary home of King Minos. Daughter Ariadne helped Theseus find his way out of labyrinth with spindle of thread. Separate living quarters, theater like areas. Knossos had as many as three stories, columns were buldous on top (Doric), and advanced drainage system.

Term 6

Definition 6

  • Bull- Leaping (Toreador Fresco)
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  • Found on interior wall. Origin of Olympic game, youth taking part of it. Grabs horn, flips on back, stand, then flips off. Women= fair skin, Man= dark skin.
  • Dangerous, game that showed skill/worth. Liveliness and spontaneity. The powerful charge of bull is shown with elongated shape. Full eye profile pose, Self confident. The angularity seen in Egyptian wall paintings is modified by the curving Minoan line that suggests the elasticity of the living and moving being.
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Term 7

Definition 7

  • Landscape with Swallows, Spring Fresco
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  • One of the earliest frescos. Free form, blue mountains.Blue isn't natural, butsee it in birds flying and flowers. No humans, first known pure landscape example.
  • Wet plasteris used to section and paint is put on and absorbd. Have to go with speed infresces. Crocus= yellow dye, economic item to trade) Nature itself is sole subject in spring. Colored rocks, swaying breezes, and swallows express vigor of growth.

Term 8

Definition 8

  • Minoan Column
  • Minoan Period
  • 3,000-1,400 (1,500) BC
  • Made of wood, bulbouse, cushionlike capitals and distinctive shafts. Similar to Doric capital 

Term 9

Definition 9

  • Snake Goddess
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  • Very distinctive, boobs hanging out and cat on head. Tiered skirt, apron, head gear. Could be mortal or divine.
  • Religious of some sort, women holds the power over the animal world- snake in hands, feline on head.
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Term 10

Definition 10

  • Pottery: Kamares Ware Jar
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  • Simple design, spirals, football, circles, geometric shapes. Creamy white and reddish brown against rich black background. Central motif= leaping fish.
  • Swirling lines evoke life in the seat, compliment the shape of the vessel. Sea life on pottery

Term 11

Definition 11

  • Pottery: Octopus Jar
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  • Tentacles of the octopus reach out over the curving surfaces of the vessel, embracing the piece and emphasizing volume.
  • More muted in tone than Kamares jar, but has dark silhouettes on light ground. Very advanced

Term 12

Definition 12

  • Harvester Vase
  • Minoan Period
  • 3,000- 1,400 (1,500) BC
  • Finest surviving example of Minoan relief sculpture. Figures have bursts of energy and the crowd is singing and shouting as they go to or return from the fields.
  • Lusty exuberance of the youths. One man shakes rattle to beat time and lungs are inflated with air that his ribs show. First time in history that there is interest in underlying muscual and skeletal structure of human body. Vase held precious oil and defined the Minoans.
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Term 13

Heinrich Schliemann

Definition 13

  • archaeologist, and an advocate of the historical reality of places mentioned in the works of Homer. Schliemann was an archaeological excavator of Troy, along with the Mycenaean sites Mycenae and Tiryns. His work lent weight to the idea that Homer's Iliad and Virgil's Aeneid reflect actual historical events.
  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC

Term 14

Iliad and Odyssey

Definition 14

  • Literature
  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  •  Homer's Iliad and Odyssey are a major part of ancient history, especially that ofAncient Greece
  • I=is an epic poem in dactylic hexameters, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy (Ilium) by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
  • O=Sequel to Iliad. The poem mainly centers on the Greek hero Odysseus (or Ulysses, as he was known in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War.[2] In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres (Greek: Μνηστῆρες) or Proci, who compete for Penelope's hand in marriage.

Term 15

Definition 15

  • Citadel of Tiryns- Cyclopean walls
  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  • Cyclopes are a race of one eyed giants. Greeks didn't believe humans could erect such edifices and attributed the construction of the citadels to cyclopes.
  • Defensive structure that has corbeled arches
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Term 16

Citadel- Megaron

Definition 16

  • Mycenaean Period
  • 1,400-1,100 (1,500) BC
  • The most important place in the palace= megaron, or reception hall of the king.
  • Main room had a throne against the right wall and wooden columns. Core of some of greek temple plans

Term 17

Definition 17

  • Lion Gate
  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  • Outer gateway of stronghold at Mycenae. Protected on left by a wall build of natural rock outcropping and on right by projection basing of larg blcoks. Missing head sculpted separately of bronze or gold and fastened into holes of stone.  
  • Relieving triangle filled with two lions carved in HIGH relief. Harmonizzing in dignity, strength, and scale with massive stones that form walls and gates. Monstrous guardian figures, similar to sphinx, lamassu, etc.

Term 18

Definition 18

  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  • Corbel arch relieved the lintel of  the weight of the wall that rose above it to a height of about fifty feet. (b)
  • Vault is held in place only by the weight of the rocks.
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Term 19

Definition 19

  • Beehive Tomb
  •   Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  • Wealthy Mycenaeans laid to rest outside citadel walls in these tombs thats were covered by earthen mounds. Best preserved= Treatsury of Atreus.
  • More sophisticated and difficult than gallery of Tirynes. Has no interior supports, great achievement not surpassed until Romans.

Term 20

Definition 20

  • Funerary Mask
  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  • Beaten gold mask that is compared to Tuts mask. Not agamemnon 
  • One of first known attempts in greece to render the human face at life-size. Beard depicts mature man, perhaps king.

Term 21

Definition 21

  • Warrior Vase
  • Mycenaean Period
  • 1,400- 1,100 (1,500) BC
  • Form is a krater, a bowl for mixing wine and water. Prominent fireze of soldiers marching off to war. Women bids farewell on left, as armed soldiers move away.
  • No idication of setting and lacks the landscape elements that characterize Minoan and Mycenaean art. All soldiers repeat the same pattern, so return to repetative forms of earlier eras.
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Term 22

Dark Ages

Definition 22

  • ·         Mycenaean Period

    ·         1,400- 1,100 (1,500) BC

  • With the destruction of Mycenaean palaces around 1200 BC, Greece was plunged into a DARK AGE.

  • This is when the arts of paitning, carving, building, and even writing almost dissapeared.

  • The Dark Ages of ancient Greece is the name given to the 300-year period of cultural decline that began when the Dorians, nomads (wandering tribes) from the northwestern part of the Greek mainland, conquered the Mycenaeans on the island of Crete around 1100 B.C.

Term 23

Definition 23

  • Dipylon Vase
  • Geometric Period
  • 900- 700 BC
  •  Krater, or mixing bowl that marked the grave of the Athenian man buried around 740 BC. Bottom of vessel is open to permit visitors of grave to pour libations to honor dead. Abstract angular motifs in horizontal bands.
  • A technical achievement for both potters skill and wealth/ position of deceased mans family in community. Human figures and horse drawn chariots, also mourning of a man laid out. Empty space with circles and M shaped ornaments, while silhouettes are traingular. Man has penis out of thigh while woment tear out hair in grief and have hair under armpits. BVoth human figure and art of storytelling was revived!

Term 24

Definition 24

  • Hero and Centaur
  • Geometric Period
  • 900-700 BC
  • 3 things to be greek: 1- To be man not animal 2- To be man not female 3- To be Greek not barbarian
  • Centur is imp.. mythical greek figure. Hero Kerakles is battling myth figure that was part man part horse (Nessos)
  • The man is larger than the horse that suggest he will be the victor. Hero is nude. Human legs in front, hind legs= centaur
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Term 25

776 BC

Definition 25

  • Orientalizing Period
  • 700-600 BC
  • Important date for Greeks.
  • According to the earliest records, the first Olympic games were held in 776 BC.The Olympic games originate in athletic contests to honor of Zeus and other deities at Olympia.The games were also helped to solve the constant civil wars among the Greek city-states. The ancient Greek Olympics were held every four years during the full moon of midsummer.
  • Religious festival to honor Zeus 

Term 26

Definition 26

  • Mantiknlos Apollo
  • Orientalizing period
  • 700- 600 BC
  •  Bronze statuete that was dedicated to Apollo of Thebes. Inscription in thigh, offering to Apollo god of sun.
  • In left hand at one time held a bow, its an image of the diety. Its a votive offeriing and had stylized triangular torse. Elaborate hairdo and chest muscles are shown. Interest in human anatomy

Term 27

Definition 27

  • Corinthian Black Figure Amphora
  • Orientalizing Period
  • 700-600 BC
  •  Has lions, and panthers which aren't from the mainlands, next to native boar there are also rosettes throughout. Amphora= two handled storage jar. On neck= siren, part bird part women.
  • Still working in bands, the story appears on the vase. Ceramic technique of black figure painting, painted figure in black then incised details
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Term 28

Encaustic sculpture

Definition 28

  • known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used.
  • Encaustic (molten beeswax, resin, and pigment) is an ancient art form that has been adapted by contemporary artists to make luminous and sculptural art work.
  • Archaic Period
  • 600- 480 BC

Term 29

Definition 29

  • Kouros Youth-600 BC
  • Archaic Period
  • 600-480 BC
  • Imp. archaic figure, is a Kouros (Greek Hero). Usually from the Olympic game, can tell because he is naked. Left foot in advance , arms are held beside body, and fist are clenched with thumbs forward (very stiff)
  • Served funerary purpose, stood over a grave. Also used as votive offferings. No block, he is free standing 

Term 30

Definition 30

  • Kouros Youth- 525 BC
  • Archaic Period
  • 600-480 BC
  • Identified as young man named Kroisos, died a hero's death in battle.
  • Kourous statue is at his grave. Has a more distinctive Archaic smile. Human body is in more naturalistic manner, head is no longer too large,fac is more rounded, hair does not form a stifff backdrop.  Has rounded hips 
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Term 31

Definition 31

  • Calf Bearer
  • Archaic Period
  • 600-480 BC
  • Not an athlete.  Citizen bringing an offering to Athena, in thanksgiving for his prosperity. Man has an Archaic smile.
  • Steps with left foot manner of the kouroi, but is beared, therefore no longer a youth. Wears a thin cloack unlike nudebody. Arms of man and legs of calf forms an X that unites the bodies physically and formally.

Term 32

Definition 32

  • Peplos Kore
  • Archaic Period 600-480 BC
  • Kore= female, Doric. She is wearing peplos- long woolen belted garment that give the female figure a columnar appearance. Had traces of paoint on her. Left hand probably held an attribute that would identify her as maiden or goddess.
  • Drapery conceals entire body, soft female form more naturally. Extended arm shows a break from the compression of the arms at the sides in Egyptian statues.

Term 33

Definition 33

  • Kore from Acropolis
  • Archaic Period
  • 600-480 BC
  • She's highly decorative, pleases on her dress and quite fancy. In her hair she has decorations of flowers as well as earrings. Chiton and himation were garment of choice for fashionable women.
  • Grasp chiton in left hand to lifet it off the ground, equivalce of left food of korai.  Much more vaiety and like an Ionic order more colored and decorative
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Term 34

Stoa

Definition 34

  • Ancient Greek architecture; covered walkways or porticos, commonly for public usage. Early stoae were open at the entrance with columns, usually of the Doric order, lining the side of the building; they created a safe, enveloping, protective atmosphere.
  • building that is used in public space (market)  

Term 35

Agora

Definition 35

  • was a central spot in ancient Greek city-states. The literal meaning of the word is "Gathering place" or "Assembly". The agora was the center of athletic, artistic, spiritual and political life of the city
  • Part of Greek architecture= the meeting place  or marketplace that was usually surrounded by buildings

Term 36

Definition 36

  • Theatre
  • Archaic Period
  • 600-480 BC
  • Greek architecture, no theatres if no hills.
  • Everyone sits on hills and gets to see
  • More religius plays to god, (tragedies, comedies)
  • Romans take the greek theatre and make it into a collosseum  
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Term 37

Definition 37

  • Temple
  • Archiac Period
  • 600-480 BC
  • Early ones made of wood and didn't survive, so made of limestone or marble. Began to follow ex. of Egyptian columnar halls. Altars were outside the temple at the east end, where worshippers worshiped. Temple housed the cult statues, GODS, not followers. Has a pointed roof so the water  doest collects
  •  Close to Megaron, only the priest is allowed in. Platformm, colonnde, superstructure, painted decoration

Term 38

Definition 38

  • Doric Order
  •  Decoration place in parts that had no strucutral function ie metope and pediments.
  • Translation into stone of earlier timber archiecture
  • Is a basic structure, triglyph is three lines and metope= where sculpture is pute to define the temple
  • Has a fluted flat base

Term 39

Definition 39

  • Ionic Order
  • volute, looks like eyes
  • Has a base and doesnt just sit on the floor, also has a frieze section
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Term 40

Definition 40

  • Corinthian Order
  • Based on the acanthus leaf (weed that was deep dark green)
  • Basket was thrown in a field, great design
  • First used for INSIDE support
  • Named after city of Corinth where king saw goblet with leaves 

Term 41

Definition 41

  • Temple of Hera I and II Paestum
  • Archaic Period
  • 600-480 BC
  • Hera I (Basilica) is a doric temple which was probably for a male god that doesnt have a pedamental structure. Has swelling column and bulbous top, as well as many columns. Frieze, pediment, and all of roof ha banished. (9 columns)
  • Hera II- Modeled closely on the shrine of Zeus. Has 6 columns, statues filled both pediments and six metopes. Has superimpoed columns that supported roof

Term 42

Definition 42

  • Temple of Artemis- Pediment Sculpture
  • Archaic Period
  • 600-480 BC
  • Main person is Medusa, ugly gorgon who if you looked at turns you to stone. Left and right are two great felines- temple guardians. Winged horse Pegasus on right and human Chrysaor on left (her children that sprang from head when Perseus severed it with sword). Then Zeus with thunderbolt and dead giant, and tucked in the corner are Trojan horses. It's a doric temply.Hair is snakes, demon wih woman body and bird wings, she's always running and has her tongue sticking out.
  • One of earliest stone temple in Greece and lavishly embelished with sculpture.

 
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Term 43

Definition 43

  • Temple of Aphaia at Aegina
  • Archaic Period
  • 600-480 BC
  • Both are dying warriors, yet they're still smiling. West one has an arrow through him while the other on the East is on his way down. Second one is more muscualr and has a helmet, beard, and shield.  The posture of the east pediment has a more natral posture and he knows that death is inevitable, but he still tries to rise. He does not look out to specator but conecerned with his pain.
  • Two statuettes belong to different eras, the later is not a creation of Archaic world, but of the classical world, where statues move as human and possess self conciousness.

Term 44

Definition 44

  • Black Ware
  • Archaic Period
  • 600-480 BC
  • Greatest work of Exekias is an amphora, which he signed as both painter and potter. He does not place his figures in bands but stature in a single large frame panel. (Achilles and Ajax playing dice)
  • Very calm, not much movement (women painted white) 

Term 45

Definition 45

  • Red Ware
  • Archaic Period
  • 600-480 BC
  • figures were painted in red, not as stiff. Much more complicated, more movement.
  • Depicts details and humanity, also creates three dimensional figures that occupy space 
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Term 46

Definition 46

  • Francois Vase
  • Archaic Period
  • 600-480 BC
  • Francois krater that is a masterpiece of early black figure painting. Named for the excavter who uncovered it in Atruscan grave.  Has voluted shaped handles and the whole vase is about the wedding of Achilles parents. More than 200 figures in six registers. Names humans, animals, and some inanimate objects. Everyone is coming to wedding, all great guest and gods are there. Most battles with centaur (mans negative self).
  • The bottom section is both orientalizing with animals and sphinxes, and geometric. The potter and decorater are named.

Term 47

Definition 47

  • Kritios Boy- Sculpture
  • Early/ High Classical Period
  • 480- 450 BC
  • Name is from sculpture himself. This figure has contrapasso stance. Can tell its a copy because of the struts that stick out, held arms in place so they dont fall off. Greek= bronze, Roman= marble.  
  • Sculpture takes on movement, more acute observation of real people doing real things. More realistic muscle placement, smile but not like Archaic one. Head also turns to right and tilts breaking the unwritten rule of frontality.

Term 48

Definition 48

  • Contrapposto
  •  Early/ High Classical Period
  •  480- 450 BC
  • Humans shift their weight and the position of the main body part is vertical, but the axis of the spine is flexible. Youth has slight dip to the right hip, so shifts weight onto the left leg. The right leg is bent at ease. Shift in weight = counterbalance, which separates Classical from Archaic
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Term 49

Definition 49

  • Charioteer 
  • Early/ High Classical Period
  •  480- 450 BC
  • First piece we look at in bronze. He is early classical, contrapossto. Shows movement because the feet go one way and the body goes another. He hold the reigns and has cloths of charioteer.
  • Has headband, not smiling, less archaic. Commemorates victory of Polyzalos of Delphi. Moment of depiction is after the race, when the driver modestly holds his horses in the winners circle. Folds emphasize calm of the figure and recall the flutes of the Greek column.

Term 50

Definition 50

  • Riace Warrior
  •  Early/ High Classical Period
  • 480- 450 BC
  • Found in water off coast of Italy. 2 were found, made of bronze, six feet tall. Free standing and contrapassto stance. Curly hairdo, muscular form.
  • Lack shield, spear,and helmet. Masterpice of hollow- casting with inlaid eyes, silver teeth and eyelashs, and copper lips and nipples. Arms are freed from the body. Pieces fitted together then soltered.

Term 51

Definition 51

  • Spear Bearer (Doryphoros)
  • Artist: Polykleitos
  • Early/ High Classical Period
  • 480- 450 BC
  • Roman marble copy of Greek bronze because of struts. Standing by tree trunk so marble doesn't break off.
  • Poly was a sculpturer who wrote on the treaty on canon of proportions. This is a natural look, no archaic smile. He is a model of Roman athletes. Ideal statue of nude male athlete/ warrior. Left arm held a spear. "Harmony of opposites", motion at rest, asymmetrical balance= essence of Poly style.
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Term 52

Definition 52

  • Discus Thrower (Diskobolos)
  • Artist: Myron
  • Early/ High Classical Period
  •  480- 450 BC
  • Contropossto but serious movement, caught him right at the wind-up. Knees twisted and turning, arms and head twisted, one of the games of the Olympics. Tree trunk supports weight of stone statue and struts between arms and body to strengthen weak points.
  • Vigorous action statue, Suggests tension of coiled spring. Face remains expressionless and head is turned away from the spectator, concentrates on task at hand.

Term 53

Definition 53

  • Zeus (Or Poseidon)
  • Early/ High Classical Period
  • 480- 450 BC
  • Thunderbolt is possibly missing from his hand, realistic w/ facial features like the Riace Warrior.
  • Male human form in motion, early bronze statue. Also found in an ancient shipwreck. Right hand is raised off ground, underscores lightness and stability of hollow cast statues.

 

Term 54

Definition 54

  • Pericles
  • High Classical Architecture Period
  •  450- 400 BC
  • Persian warriar that pulls evertyhing together and defeats persians. Athenian and says he will build temple to Athena for helping with defeat.
  • Took everyones money to build himself, realistic, helmet on top. Creates Golden day of Greece (Glory days)
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Term 55

Acropolis

Definition 55

  • A citadel or fortified part of an ancient Greek city, typically built on a hill.
  • The ancient citadel at Athens, containing the Parthenon and other notable buildings.
  •  HIGHEST POINT OF CITY

Term 56

Iktinos and Kallikrates

Definition 56

  • Architects of Parthanon
  • Perfect proportions and it s the ideal solution to the greek architechts quest to protect perfect proportions in doric temple design.
  • Well spaced columns, slender shafts are ultimate refinements of the bulging and squat Doric columns.

Term 57

Definition 57

  • Parthenon Design and Decorations
  • High Classical Architecture Period
  • 450- 400 BC
  • Had pedamental sculptures, metophs, statues of Athena, and frieze = perfect.
  • Taller thinner, more graceful columns.
  • Unity of decorative program
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Term 58

Definition 58

  • Athena
  • High Classical Architecture Period
  •  450- 400 BC
  • Athena= made of ivory and 2500 lb of gold, in cella. Goddess that was protected by snake; has 6 ft tall Nike in hand.  

Term 59

Definition 59

  • East pediment of Parthenon
  • High Classical Architecture Period
  • 450- 400 BC
  • East= birth of Athena, West= battle w/ Poseidon. Athena wins battle, Helios Sun, chariot horse rising from pediment floor, Greek hero, then two figures mother and daughter (persephone and Demetan) Isis god who brings good info. Wet drapery then goddes of evening w/ chariot. Aphrodite, etc

 

Term 60

Entasis

Definition 60

  • A slight convexity or swelling, as in the shaft of a column, intended to compensate for the illusion of concavity resulting from straight sides.
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Term 61

Definition 61

  • Caryatid of Erechtheion
  • High Classical Architecture Period
  • 450- 400 BC
  • Captive slave female that is to hold up the building forever. 6 of them, south porch of Erechthein. Have right leg out, 3 have left out. Made of marble; sturdy.
  • Gown is column like, elaborate hairdo. Caryatids replaced ionic columns.

Term 62

Definition 62

  • Nike
  • High Classical Architecture Period
  • 450- 400 BC
  • Ionic temple, refernces frieze with battle against persians. Has wet drapery, it's a relief
  • Ordinary event that she would be adjusting her sandal, awkward posture rendered elegant and graceful

Term 63

Definition 63

  • Porch of Maidens
  •  High Classical Architecture Period
  • 450- 400 BC
  • South side of Erechthion, 6 of them, 3 with right leg out, 3 with left leg out
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Term 64

Definition 64

  • Aphrodite of Knidos
  • Artist: Praxiteles
  • Late Classical Sculpture
  • 400-320 BC
  • Placed in middle, men fell in love with her. She's not erotic, covering self. Taking robe off to take bath (modest)
  • First time a women is portrayed nude, sensualess, more feeling/ human. When it came out was shocking

Term 65

Definition 65

  • Hermes and the infant Dionysos
  • Artist: Praxiteles
  • Late Classical Sculpture
  • 400-320 BC
  • longer, thinner and has s curve to it. Has a human connection, probably holding grapes so Dionysos can reach to it, Serious strut= Roman marble copy
  • Humanizing the gods, Classical Idealism. Tender and very human interaction between adult and child, real world appearances rather than idealized

Term 66

Definition 66

  • The Scraper
  • Artist: Lysippos
  •  Late Classical Sculpture
  • 400-320 BC
  • Academic games put oil on then put dirt on, then scrape all that off.
  • Realism, male specimen has attributes cover= Vatican Breaks dominance of frontal view and encourages observer to look at dif angles
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Term 67

Alexander the Great

Definition 67

  • Hellenistic Sculpture
  • 320-30 BC
  • Conquered most of the known world, when he died empire was so vast not on person could contol, ALWAYS recognizable with lion like hair
  • Lysippos was only one who captured his essense in a portrait, so only one allowed to sculpt kings image
  • Provides insight to kings personality and art of Lysippios

Term 68

Definition 68

  • Alexander the Great, Darius III: Battle of Issus Mosaic
  • Hellenistic Sculpture
  • 320-30 BC
  • When he conquered Persians at Issus. Defeated Darius, this is in the moment. Alexander has Medusa on chest with spear pointed.
  • Found in floor of Pompeii. Stones/ glass cut to desired size and shape. Alexander goes into battle w/o helmet. Darius looks at Alex in pathetic gesture, LIGHT AND SHADOW

Term 69

Definition 69

  • Stag Hunt from Pella
  • Artist: Gnosis
  • Hellenistic Sculpture
  •  320-30 BC
  • Finest pebble mosaic, has intricate floral pattern and stylized wave motif.
  • Earliest mosaicists sig. known. Light figures against a dark ground is common to red figure painting. Musculature of hunters modeled by shading (shadow painting)
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Term 70

Definition 70

  • Altar of Pergamon
  •  Hellenistic Sculpture
  • 320-30 BC
  • Captures a moment, dramatic and intense. Altar dedicated to Zeus, left
  • Scultupre almost in the round, in memory of Father. Battle of Zeus and gods against giant, most extensive rep. to depict that epic conflict for control of the world  

Term 71

Definition 71

  • Gallic chieftain killing wife and himself
  • Hellenistic Sculpture
  • 320-30 BC
  • Taking his life after he takes his wifes who would have been sold as a slave. Defiantly drives sword into own chest below collarbone. Gauls intense expressive face and powerful body to womans limp body. Emotional intensity of suice
  • Very dramatic, knows they lost. You can see blood. Right at the moment when everything is changing. Nobility in defeat

Term 72

Definition 72

  • Dying Gallic Trumpeter
  • Hellenistic Sculpture
  • 320-30 BC
  • Gallic because jewelry around neck= torque, as well as busy hair and mustache. Warrior that has no uniform. Collapses on shield as blood pours from chest, stares at ground with pain expression on face, bulging veins
  • Has been stabbed, trumpeter, last moments. Baroque style, twisting posture, theatrical gesture, emotional instensity
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Term 73

Definition 73

  • Nike of Samothrace
  • Hellenistic Sculpture
  •  320-30 BC
  • Part of complex piece that is on front of ship. Getting ready to land, twisting so she lands upright. Beautiful wings/ drapery.
  • Mosst greek sculptures dont have head, body and movement you look at. Displayed in fountain, has a theatrical effect, illusion of waves crashing on prow of ship. Aural dimension to visual drama (sound of splashing water). Seems living/ breathing figure

Term 74

Definition 74

  • Laocoon and His sons
  •  Hellenistic Sculpture 
  • 320-30 BC
  • One of first pieces in Vatican museum, shows every muscle in movement. Greek priest that offended god, told compatriots to be wary of bearing gift so Poseiden sent two serpents to attack him and his sons. Everyone is being attacked by serpents. (Gods favored greeks in war against Troy)
  • Michelangelo inspiration. Agony of snakes attacking you, very descriptive. Suffering, torment, pain

Term 75

Definition 75

  • Old market Woman
  • Hellenistic Sculpture
  • 320-30 BC
  • Has nice gown, hairdo was orderly. Bringing food to sell in marketplace, wrinkled face, body is bent, spirit if broken by lifetime of poverty. Carries on because must, not because she has pleasures in life
  • Realism=Hellenistic work, simple-> complex, stiff -> Loose. Opposite of classical idealism, old woman from lowest rungs of social order. Reflects different social climate
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Term 76

Definition 76

  • Aphrodite of Melos- Venus of Milo
  •  Hellenistic Sculpture
  •  320-30 BC
  • 6 ft tall, found in Milo. Undressing of Aphrodite become norm. She's larger than lifesize and the base is signed by sculpture. Grasped edge of drapery to stop it from slipping down further
  • More modestly drapped, but also more sexual. Right hand would have had an apple that Paris gave her when judged most beautiful woman of all. Openly explored eroticism of the nude female form

Term 77

Definition 77