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Latin > Classical Art Study Guide Notes > Flashcards

Classical Art Study Guide Notes Flashcards

1
Q

Cycladic ARt

A

Large number of marble idols found in tombs, mainly standing nude female figure with arms folded across the chest

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2
Q

MINOAN Architecture

A

Most ambitious palace found at Knossos

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3
Q

Palace at Knossos

A

Excavated by archaeologist Sir Arthur Evans

Complicated maze of rooms, multi story, characteristic downward tapering column, thrown room

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4
Q

MINOAN Sculpture

A

Faience snake goddess

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5
Q

MINOAN Painting

A

Frescoes from Knossos include: La Parisienne, The Prince of the Lilies, Dolphin fresco, Toreador fresco

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6
Q

MINOAN Paintings Frescoes from Thera

A

Boxing Children, Blue Monkeys, Fisherman

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7
Q

MINOAN Vases

A

Harvester Vase, Octopus, Vase, Bull’s Head rhyton

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8
Q

MYCENAEANS Mycenae

A

Fortified with “cyclopean” walls, Lion Gate, Treasury of Artreus, Gold “Mask of Agamemnon” discovered by Heinrich Schliemann in shaft graves, Warrior vase

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9
Q

MYCENAEANS Pylos

A

Excavated by the American archaeologist Carl Blegen

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10
Q

MYCENAEANS Michael Ventris

A

Deciphered Linear B tablets

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11
Q

POTTERY Protogeometric

A

1000-900 BC

Pots were decorated with black hands, wavy lines, and simply geometric designs, concentric circles

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12
Q

POTTERY Geometric

A

900-700 BC
Human and animal figures added, meander pattern, triangles

Diplyon Vase - large vase that served as a grave monument, depicts a funeral scene

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13
Q

POTTERY Orientalizing

A

700-600 BC

Pottery begins to show signs of influence from the East, decorative floral motifs, animals

The Eleusis Amphora - depicts the blinding of Polyphemus by Odysseus

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14
Q

POTTERY Black Figure Technique

A

700 BC in Corinth
The design is silhouetted in black against the reddish clay, details are scratched in with a needle
Francois Vase - painter - Kleitias, depicts the wedding of Peleus and Thetis
Ajax and Achilles Playing Dice -amphora by Exekias

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15
Q

POTTERY Red Figure Technique

A

Athens 530 BC
The figures are left red and the background is black, allows for greater detail, foreshortening
Death of Sparpedon - krater by Euphronios

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16
Q

POTTERY Vase

Amphora

A
  • two handled vase used for storage and transport
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17
Q

POTTERY Vase Shapes

Krater

A

Used for mixing wine with water

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18
Q

POTTERY Vase shapes

Kylix and Kantharos

A

Drinking cups

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19
Q

POTTERY Vase Shapes

Lekythos

A

Used for oils and perfumes, and for pouring funeral libations

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20
Q

SCULPTURE Archaic Period 600-480 BC

Kouros

A

Male, free standing nude, with one foot forward, stiff, hair - formalized (wig-like)

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21
Q

SCULPTURE Archaic Period 600-480 BC

Kore

A

Female, free-standing, always clothed

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22
Q

SCULPTURE Archaic Period 600-480 BC

Battle of the Gods and Giants

A

Frieze from the Siphnian Treasury

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23
Q

SCULPTURE Critias Boy

A

Marks the end of the Archaic and the beginning of the Classical Period. For the first time the figure is no longer looking or walking straight ahead, his head and the upper part of his body are turned, his weight shifts from one leg to another and his hips move (CONTRAPPOSTO)

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24
Q

SCULPTURE Classical Period 5th century BC

Parthenon Sculpture

A

92 metopes: North (Trojan War), East (Gigantomachy),
South (Lapiths and Centaurs), West (Amazonomachy)
Inner frieze: over 500 ft. in length, depicts Panathenaic Procession, done in low relief,
skillful handling of space (as many as 6 horses shown riding abreast)
West pediment: competition between Athena and Poseidon for patronage of Athens
East pediment: birth of Athena (surviving figures – Dionysus; Three Goddesses; and
Demeter, Persephone, and Iris
Massive chryselephantine (gold and ivory) statue of Athena (kept in the cella) – does not survive
Elgin Marbles – the sculpture from the Parthenon displayed in the British Museum – taken there by
Lord Elgin in the 19th century

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25
Q

SCULPTURE Classical Period

Bronze Sculpture

A

lighter than marble, allows for a variety of poses, statues show movement
Zeus of Artemesium
Charioteer of Delphi
Doryphorus (Spear-Bearer) – by Polyclitus, survives only in marble copies, stands in contrapposto position, represented the ideal proportions of the human body.
Polyclitus wrote a book on this subject called the Canon.
Discobolus (Discus-Thrower) – by Myron, only a Roman marble copy survives
Riace Bronzes

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26
Q

SCULPTURE Late Classical Period

Praxiteles

A

Hermes and the Infant Dionysus – elongated body, extreme contrapposto stance (S curve)
Aphrodite of Cnidos – known only through copies, first life-size female nude
Renowned for its beauty

27
Q

Late Classical Period

Lysippus

A

Alexander the Great’s personal sculptor, created stock representation of god-like Alexander, with tousled hair and eyes looking upward Apoxyomenos (the Scraper) – known only from Roman copies

28
Q

SCULPTURE Hellenistic Period

A

Sculpture is more dramatic and emotional than the Classical period, harsh diagonal lines, movement
Realism: for the first time, the elderly and unattractive are portrayed
Dying Gaul (from Pergamum), Gigantomachy frieze (Altar of Zeus, Pergamum) Winged Victory of Samothrace
Laocoon group

29
Q

TEMPLES Parts

Naos

A

Room in which the statue of the god was kept

30
Q

TEMPLES Parts

Pronaos

A

Porch

31
Q

TEMPLES Parts

Opisthodomos

A

Back porch

32
Q

TEMPLES Parts

Peristyle

A

Encircling colonnade

33
Q

TEMPLES Parts

Stylobate

A

Top step of the platform on which the temple is built

34
Q

TEMPLES Parts

Pediment

A

The triangle formed by the roof at each end of the temple - sometimes filled with sculpture

35
Q

TEMPLES Architecture

Doric

A

massive and simple. Columns were topped by a cushion-like, undecorated capital, which supported a plain undecorated architrave. This supported the frieze which consisted of alternating triglyphs (a rectangle of three vertical grooves) and metopes (rectangles which could be plain, painted, or filled with relief sculpture). There was one triglyph over each column and one between each pair of columns
Temple of Hera at Olympia (ca. 600 B.C.), Temple of Zeus at Olympia (ca. 460 B.C.)
Temple of Hephaestus, (Athenian Agora)
Propylaea - entrance to the Athenian Acropolis
Parthenon (448-432 B.C.) – temple to Athena, Athenian acropolis
architects Ictinus and Callicrates,
the perfect embodiment of Doric architecture, also contains elements of the Ionic order

36
Q

TEMPLES Architecture

Ionic

A

more delicate and ornate. The columns were slender, rested on elaborate bases, and their capitals were scroll-like (volutes). The frieze was undivided and sometimes decorated with a continuous band of relief sculpture
Temple of Athena Nike on the Acropolis (427-424 B.C.), architect Callicrates
The Erechtheum on the Acropolis (421-409 B.C.) – architect Mnesicles
South porch – Porch of the Maidens – 6 caryatids – sculptured maidens used as columns

37
Q

TEMPLES Architecture

Corinthian

A

a version of the Ionic order, the column capital was elaborate, decorated with acanthus leaves, invented at the end of the 5th century B.C., much used in Hellenistic and Roman times
Temple of Olympian Zeus, Athens

38
Q

ETRUSCAN ART Tombs

A

Most of what we know about the Etruscans comes from their tombs whose frescoes depict scenes of
everyday life, mythology, and funeral rites, typically in bright colors and a lively style. The frescoes depict scenes of feasting, dancing, swimming, fishing, and playing. The decline of their civilization, in the shadow of Rome’s expansion, is reflected in their later art, which becomes more somber.
Tomb of Hunting and Fishing (ca. 520 B.C.) - Tarquinia
Tomb of the Triclinium (ca. 480 B.C.) – Tarquinia
Tomb of the Reliefs (4th century B.C.) – Cerveteri – imitates the interior of a house, covered with relief sculpture of weapons, armor, household implements, small animals, and busts of the deceased

39
Q

ETRUSCAN ART Sculpture

A

Apollo of Veii (ca. 550 B.C.) – terracotta statue of Apollo, archaic style, decorated a temple pediment Sarcophagus of the Spouses (ca. 520 B.C.) Capitoline Wolf (ca. 480 B.C.) - bronze Chimaera of Arezzo (ca. 400 B.C.) – bronze

40
Q

ETRUSCAN ART Bucchero pottery

A

Characterized by its shiny black surface

41
Q

ROMAN REPUBLIC Temples

A

The earliest Roman temples were adapted from Etruscan architecture. Distinguishing features:
high podium, deep porch supported by widely spaced columns, gabled roof covered with terracotta tiles
and large antefixes along the edge of the roof
Temple of Fortuna Virilis (125 B.C.), Forum Boarium – fusion of Greek and Tuscan traditions

42
Q

ROMAN REPUBLIC Sanctuary of Fortuna

A 
at Praeneste (Palestrina), 1st century B.C.
Large temple complex, laid out on a steep hillside, a series of ramps and terraces lead up to a large
colonnaded court, from there a flight of steps arranged like the seats of a Greek theater lead to the semicircular colonnade at the top.  An entire hillside transformed and articulated so that the architectural forms seem to grow out of the rock
Illustrates early use of arches, barrel vaults, concrete (all impt. characteristics of Roman architecture)
43
Q

ROMAN REPUBLIC Portraiture

A

characterized by verism – realisms, shows imperfections (“warts and all”) – compare to idealism of Greek portraiture
Capitoline Brutus, bronze
Pompey the Great – small eyes, bulbous nose, puffy face = the real Pompey. Thick, tousled hair reminiscent of Lysippus’ portraits of Alexander the Great

44
Q

JULIO-CLAUDIAN EMPERORS Augustus of Prima Porta

A

displayed in the Vatican Museums
Augustus is depicted as a victorious general, the face is recognizable as Augustus, but the body is idealized, air of divinity, elaborate breastplate depicts the return of the Parthian standards. Structural support provided by Cupid riding a dolphin (a reference to Augustus divine ancestry – goddess Venus)

45
Q

JULIO-CLAUDIAN EMPERORS Ara Pacis

A

(9 B.C.) – the Altar of Peace
Decorated with relief sculpture – Imperial Procession – portraits of Augustus and his family
Tellus (Earth goddess) Panel – seated goddess (perhaps the personification of Italy), embraces two children, lush vegetation, represents peace and prosperity of Augustan age

46
Q

JULIO-CLAUDIAN EMPERORS Gemma Augustea

A

large cameo. Augustus portrayed as Jupiter, seated next to the goddess Roma, the lower scene depicts Roman soldiers erecting a war trophy in the presence of captured barbarians

47
Q

JULIO-CLAUDIAN EMPERORS Domus Aurea

A

“Golden House” of the emperor Nero, extravagantly decorated, huge grounds, built after the great fire of Rome (64 A.D.)
Octagonal room – ceiling rotated to reflect the movement of the heavens
Rooms decorated with frescoes (3rd Pompeiian style)

48
Q

FLAVIAN EMPERORS Arch of Titus

A

commemorates Titus’ conquest of Jerusalem, erected in 81 A.D., located in the Roman Forum. Relief panel shows the triumphal procession (spoils from the Temple in Jerusalem)

49
Q

FLAVIAN EMPERORS Flavian Amphitheater (Colosseum)

A

completed in 80 A.D., accommodated 50, 000 spectators
Concrete core – miles of vaulted corridors, masterpiece of engineering efficiency to ensure the smooth
flow of traffic
Exterior – 80 arched entrances, three levels of arches framed by engaged columns (ground floor – Doric, followed by Ionic and Corinthian)

50
Q

POMPEII AND HERCULANEUM Town

A

Buried in the eruption of Mt. Vesuvius in 79 A.D, discovered in the 18th century

51
Q

POMPEII AND HERCULANEUM Frescoes

First Style

A

Imitates stone masonry

52
Q

POMPEII AND HERCULANEUM Frescoes

Second Style

A

introduces images and landscapes surrounded by an
architectural frame, extending the interior space by the use of perspective. The illusions are always rational and naturalistic
Villa of the Mysteries
Bedroom from Boscoreale (from the villa of P. Fannius Synistor, displayed in the Metropolitan Museum of New York)

53
Q

POMPEII AND HERCULANEUM Frescoes

Third Style

A

emphasized the flat confining nature of the walls,
characterized by the use of delicate and sophisticated details, denied all appearances of
rationality and logic. Wall was painted a solid color (red, black or white), slender architectural details enclose small vignettes in the center of the wall
Domus Aurea frescoes
Boscotrecase frescoes (also displayed in the Metropolitan Museum)

54
Q

POMPEII AND HERCULANEUM Frescoes

Fourth Style

A

a synthesis between 2nd style spaciousness and 3rd style elegance, elaborate Baroque illusionism
House of the Vettii (Ixion Room), Pompeii

55
Q

POMPEII AND HERCULANEUM House of the faun

A 
large Roman villa, named for the bronze statue of a faun located in the impluvium
Alexander Mosaic (a copy of a 3rd century B.C. Greek painting) – depicts Alexander the Great’s victory over the Persian king Darius
56
Q

FIVE GOOD EMPERORS Forum of Trajan

A

largest of the imperial Fora, architect – Apollodorus of Damascus Trajan’s column – decorated with a spiral band of relief depicting Trajan’s Dacian campaigns, More than 2500 human figures, in addition to horses, boats, vehicles, military equipment

57
Q

FIVE GOOD EMPERORS Pantheon

A

best preserved Roman structure, temple dedicated to all gods,
On the site of an earlier temple built by M. Agrippa (inscription)
The emperor Hadrian himself probably played a role in the design
Traditional exterior – deep porch, Corinthian columns,
Interior - round, dome roof, oculus (“eye”) – 25 feet wide, lets in light
The dome and the drum are of equal heights – in exact balance

58
Q

FIVE GOOD EMPERORS Hadrians Mausoleum

A

Castel Sant’ Angelo

59
Q

FIVE GOOD EMPERORS Temple of Antoninus and Faustina

A

columned (10 monolithic Corinthian columns) portico still visible in the Roman Forum

60
Q

FIVE GOOD EMPERORS Equestrian Statue of Marcus Aurelius

A

Made of bronze, larger than life size

A copy stands in the center of the Piazza del Campidoglio, the square designed by Michelangelo on the Capitoline Hill

61
Q

LATER EMPIRE Arch of Septimius Severus

A

Located in the Roman Forum

62
Q

LATER EMPIRE Diocletian

A

reorganized the empire into a tetrarchy
Statues of the Four Tetrarchs – not individual portraits, each figure looks the same
Lack of realism, naturalism, figures are stiff and rigid

63
Q

LATER EMPIRE Arch of Constantine

A

dedicated in 315 A.D. in honor of his defeat of Maxentius
Located near the Colosseum, three archways
Decorated with sculpture taken from earlier monuments (Trajan, Marcus Aurelius, Hadrian)
Friezes from the time of Constantine – stylistic change, non-naturalistic approach, lacks spatial depth,
Constantine is disproportionately large, other figures stumpy, doll-like

64
Q

LATER EMPIRE Basilica of Maxentius

A

located in the Roman Forum,
Was the largest building in ancient Rome Contained a colossal statue of Constantine (head, foot, hand remain)
Today only the north aisle (three large barrel vaults) is standing

Latin (2 decks)

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