Midterm Flashcards by Krystal Hasiak

*Name**: Copy of the Diskobolos (Discus Thrower)
*Period**: Early Classical
*Date**: c. 450 BC
*Artist**: Myron

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*Name**: Copy of the Doryphoros (Spear Bearer)
*Period**: Early Classical
*Date**: c. 450-440 BC
*Artist**: Polykleitos

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Title: Funerary amphora:
Dipylon Vase with funerary scene
Date: circa 750 BCE
Artist: Dipylon Master (active circa 760-735 BCE)
Culture: Geometric
City/Site: Athens
Country: Greece

• Detail: funeral procession with mourners and
deceased on funeral pyre
• main register - funeral procession
• deceased woman is on funeral pyre
• figures in mourning tear out their hair
• geometric period - has humans presented
geometrically (Minoan prescedent)
• women depicted slightly fuller with lines for breasts
and ponytail line
• retintroduction of figures
• multiplication of figures
• lavish program of pattern had a great power
• design had content = wealth, power, position of the
deceased’s family
• could have it made & display it = $
• gives proof that they deserve their standing

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*Title**: Eleusis amphora depicting the Blinding of Polyphemus
*Date:** mid 7th C. BCE
*Artist/Culture:** Orientalizing
*City/Site:** Eleusis
*Country**: Greece

Found at the great sanctuary of Eleusis dedicated to Demeter
Moving away from geometric - still found, but it’s in secondary areas
relative to what came before it, was an improvement from previous
- dipylon - narrative competes w/the ornament
- eleusis - ornament is secondary & to the sides

3 registers: shoulder = decoration, neck & body = narrative (broad registers)

Neck: Odysseus blinding the cyclops Polyphemus

cyclops is holding a cup of strong wine to make him drunk
red hot stake to the eye (to escape the cave)
“simultaneous narration” = wouldn’t be drinking wine while being blinded, but it is an icon for the events that lead to the main story of blinding
odysseus was emphasized w/white paint
figures were predominantly silhouettes

Body: story of Gorgons & Perseus

perseus is largely broken off
2 gorgon sisters mourning over their sister = Medusa
- beheaded by perseus using reflection in shield
gorgons - large heads w/snakes & geometric mouth

Artist focused on movement of the body

curvilinear swelling of odysseus’ body (vs anatomical depiction)
individualized ppl
gorgons’ legs protrude from their skirt to show running

Contains the bones of a small child

what does this narrative mean in this context?
speculation of being aprotropaic = scaring away demons/monsters

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*Title**: Amphora depicting Achilles and Ajax gaming
*Date**: circa 540 BCE
*Artist**: Exekias (active 540-520 BCE)
*Culture**: Archaic
*City/Site:** N/A
*Country:** Greece

archaic = beginning
amphora = funerary objects
exekias = signs his work to show that vase painting was a noble art & worthy to be proud of
Rationality = reason being highest quality = what sets humans apart from “lesser creatures”
greater emphasis on human figures
achilles & ajax thinking, logic games
“black figure style” = black slip (mixture of pigment & clay) painted on natural clay w/incised detail
geometric design is narrowed to the cloaks
pinched waists reminiscent of the earlier geometric figures
characters of the greek = very specific narrative
- achilles & ajax arguing (“4” & “3” inscribed on vase)
- trojans are outside going to attack
- instead of showing the peak of battle, shows the “greater moment of psychological intensity”

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*Title**: Calyx Krater depicting Sarpedon carried off the battlefield. Detail: Hermes watches as Sarpedon is carried by Sleep and Death
*Date**: circa 515 BCE
*Artist**: Euphronios (active 520-470 BCE)
*Culture**: Archaic
*City/Site**: Athens
*Country**: Greece

mixing bowl for wine & water
sarpedon is a son of Zeus
reversing black & red = naturalistic looking = flesh color
- can use a brush for detail instead of engraving
- “red figure style”
great detail in figure, musculature, & drapery
- represents the introduction of anatomy to enhance narrative

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*Title**: Sounion Kouros
*Date**: circa 600 BCE
*Artist/Culture**: Archaic
*City/Site:** Sounion
*Country:** Greece

gets its name from its location
found at the Sanctuary of Poseidon
“colossus” statue at 10ft = difficult to carve proportions
pose is much like Egyptian sculpture
- one foot forward w/hands at the side
- most stable pose for free standing sculpture
- greeks removed supporting structures, spaces between legs, & between arms and torso
  - greeks had iron tools & the drill
the artist’s expression
“modeled” = true three dimensionality
sounion is more planar & imprecise anatomically
- musculature of abs (4 instead of 3)
- incision of ribcage & abdomen
- back is incised
the desire of naturalism is there based on the amt of detail in the figure
- esp. the knee, though still incorrectly portrayed
face, hair, ears
- “schematization” = taking from nature, but removed
- eyes uncommonly large = come from middle eastern influence (being closer to god)
- face is common - can be reflective of the ideal form vs giving specific details of an individual
- hair - middle eastern influence & wiglike
- ears - curved like volutes on columns - nothing like enature
could be reference to the stone sculptor’s background of a carver
sculpture is believed to be as the artist imagined
- if they had wanted to, they could compare it to another human
- the absence of naturalism shows the figure above the every day
- rigidity, frontality, schemetization = empasizes superhuman
CULT OF HEROES

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*Name**: Parthenon, plan.
*Period**: Classical
*Date**: 447-438 BC
*Artists**: Ictinus and Kallicrates
*Original Location:** Athens

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*Name**: Parthenon. Restoration drawing
*Period**: Classical
*Date**: 447-438 BC
*Artists**: Ictinus and Kallicrates
*Original Location:** Athens

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*Name**: Parthenon. View from northwest
*Period**: Classical
*Date**: 447-438 BC
*Artists**: Ictinus and Kallicrates
*Original Location**: Athens, Acropolis

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*Name**: Parthenon. Reconstruction drawing of east pediment.
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of east pediment. Detail: left part
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location:** Athens

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*Name**: Parthenon. E. pediment,Theseus (Dionysos)
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of east pediment. Det:right part
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. E. pediment. Det: Dione & Aphrodite
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of West pediment
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of W. pediment. Left side
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. Reconstruction drawing of W. pediment. Right side.
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. W. pediment. Iris.
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original** Location: Athens

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*Name**: Parthenon. South Metope: Lapith triumphing over a Centaur
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. North frieze: Mounted procession
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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*Name**: Parthenon. East frieze: Maidens & Leaders
*Period**: Classical
*Date**: 438-432 BC
*Artist**: Supervised by Phidias
*Original Location**: Athens

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Study These Flashcards

*Title**: Anavysos Kouros (Kroisos)
*Date**: circa 525 BCE
*Artist/Culture**: Archaic
*City/Site**: Anavysos
*Country**: Greece

Anavysos = between sounion & athens
not the tools that made the greeks move away from rigidity
- wanted more naturalistic appearance
- not quickly, generationally
unlike calf bearer who is a “normal man”, Anavysos is a hero sculpture
funerary monument for Kroisos = a hero
paint still existed in eyes & hair - red coloring in hair
- a lot of blondes & redheads in greece

modeled anatomy is very realistic:

abdomen- triple subdivision (vs quadruple in sounion)
junction of legs & torso- instead of ridge, there’s natural fold
hair is still patterned - more stylized, schematized
knees & shins are schemetized but asymmetrical musculature of knees is at least present
ribcage is too round (and too high?)
standard type = frontal pose, hands to the sides, one foot forward

generally/overall downplay of the rigidity/schemetization/etc

growing importance in the belief of the human being
human is the determiner of themselves (vs the gods’ fate)
creation of new superhuman heroes was on the downslope
human heroes are more important & divine

Study These Flashcards

*Title:** Auxerre Kore
*Date**: circa 650 BCE
*Artist/Culture**: Archaic
*City/Site:** Crete
*Country:** Greece

influence of Egyptian on Greek statue is also apparent in female ones
carved as a votive
rigid, frontal, symmetrical
hair is highly schematized
breasts show through thin clothing = egyptian/foreign
lower part- greek modesty= solid block, not showing any hint of legs
aristocratic woman
less strident feetian on Greek statue is also apparent in female ones
carved as a votive
rigid, frontal, symmetrical
hair is highly schemetized
breasts show through thin clothing = egyptian/foreign
lower part- greek modesty= solid block, not showing any hint of legs
aristocratic woman
less strident feet - more statuesque votive
gesture w/hand = meaning is no longer known
possible salutation to the god
face is similar to the kouros, very rigid & unoriginal
was originally painted, decorated w/jewelry & clothing - more statuesque votive
gesture w/hand = meaning is no longer known
- possible salutation to the god
face is similar to the kouros, very rigid & unoriginal
was originally painted, decorated w/jewelry & clothing

* *Title**: Kore from Samos ('Hera'), sometimes called the Cheramyes Kore * *Date**: circa 565 BCE * *Artist/Culture**: Archaic * *City/Site:** Samos * *Country**: Greece * * * * more greek influence = "hellenization" * called "Hera" but it's not of Hera - was votive offering to honor her * wearing clothing of Ionia * skirt & cloak have different decor to reduce rigidity * skirt (chiton) - thin vertical lines = texture & separation of clothing * cloak (himation) - thick diagonal lines * one arm to the side, other arm originally in front (like Auxerre) * body isn't indicated under skirt & upper body is modestly covered

* *Title**: Peplos Kore (Kore 679) from the Athenian Acropolis * *Date**: circa 530 BC * *Artist/Culture**: Archaic * *City/Site:** Athens * *Country**: Greece * * * * Modern reconstruction with painted plaster cast * votive statue - probably in front of the temple * probably buried religiously after the destruction of the acropolis by the persians * possibly wrapped in a lead sheet, as if in a burial shroud * traditional Dorian clothing = woolen peplos (name derivative) * pose is one of dignity * simple garments - adds severity to the look * form is hidden under drapery * simple rectangular block of stone carved into figure * arm was carved separately & added to sculpture later ("plugged in") * big thing - moving away from rigid arms agains their sides * minor sensation * original red paint/red hair = a little less schemetized, less wiglike * face - some attempt at expression, archaic smile * still larger eyes * originally had metal jewelry & was "luxurious" b/c of the detail painting & where the paint is from * color was from shellfish = veyr expensive * depiction of embroidery is symbol of luxury * aristocratic women, family probably paid for positions for daughters like priestesses, etc. * statue would be raised & a sign of status for the family

* *Title**: Athenian Acropolis Kore 674 * *Date**: circa 525 BCE * *Artist/Culture**: Archaic * *City/Site**: Athens * *Country**: Greece * * * * also mutilated & ritualistically buried like peplos kore * Ionian style * luxurious tunic & robe, slightly more technically created than the peplos (decor in drapery) * still modest, shows a little of the body form underneath * falls more naturalistically than the "wet drapery" technique of later * wet drapery = classical drapery style for super folds detail in decor but actually less natural = looks like individual wore clothes & jumped into shower * conspicuous consumption - folds & crinkled design on arms * some paint in the eyes, hair, & clothing * culture LOVED luxury & super colorful colors/clothing * archaic smile has started to fade * schemetized/symmetrical hair is still apparent * eyes are less exaggerated, more sensuous - "feline" eyes

* *Title**: Temple of Hera I * *Date**: mid-6th C BCE * *Artist/Culture**: Archaic * *City/Site**: Paestum * *Country**: Italy * * * * greek temple = center of the cult * sacrifice/divination of animal = in front of temple * cella was the house of the cult statue * very few major rituals were inside * "real" focus was outside the temple * Influence of Egypt (indirect or direct) on Greece * 664 BC = Egypt was open to trade & travel * most temples in this era were partial stone * all stone temples were of the mid-archaic period * odd amount of columns blocking the direct path to cella, 9 X 18 = typical of this period * not focused on the visual being blocked * single row of columns down the center of the cella shows lack of confidence in their architecture * belief that the roof needs that structure * later the columns will move to the side * entasis of columns

* *Title**: Siphnian Treasury. North frieze, Detail: battle of Gods and Giants * *Date:** circa 530 BCE * *Artist/Culture**: Archaic * *City/Site:** Delphi * *Country:** Greece * * * was in the Temple of Apollo frieze wraps around entire building, different stories on each side North side: gods & giants (titans) battle * bordered the sacred way = most prominent * depicted space & movement - figures are on the same ground line * deep undercutting to add depth & layering * adapted to be less regular - less "paperdoll" cutouts * irregularity = more natural * sense of movement - legs running, drapery flying back * real expressions - one god is screaming in terror as he's being mauled by a lion

* *Title**: Siphnian Treasury. east frieze, Detail: Gods on Olympus * *Date**: circa 530 BCE * *Artist/Culture:** Archaic * *City/Site:** Delphi * *Country:** Greece * * * East frieze: gods on olympus Thetis - sea nymph & demigoddess is complaining about the treatment of her son, Achilles variety = different drapery patterns, hairstyles, gestures, etc people are talking, arguing, etc. = based on head, body, & hand movement narrative potential - creates competition

* *Title**: Siphnian Treasury. west facade * *Date**: circa 530 BCE * *Artist/Culture:** Archaic * *City/Site**: Delphi * *Country**: Greece * * * fight between Apollo & Herakles for the tripod at Delphi zeus tries to intervene & herakles is punished to be a slave & do "women's work" extraneous figuress in the pediment to fill the extra space most pediment sculptures are hierarchic scale (important = tallest), not so here height just to fill space evenly Caryatids = females holding up the front in place of columns (knowns as Atlases when male)

* *Name**: Temple of Athena Aphaia. West (old) pediment diagram * *Period**: Early Classical * *Date**: c. 500 BC Original * *Location**: Aegina * * * * destroyed by persians * depicting Trojan war Phrygian warrior/oriental archer, possibly Paris * wore pants & phrygian cap * more relaxed, less muscles Dying warrior * no shield * archaic smile = odd since he's pulling an arrow out of himself * superhuman, perfection in death

* *Name**: Temple of Athena Aphaia. West (old) pediment, right side. Dying warrior * *Period**: Early Classical * *Date**: c. 500 BC * *Original Location**: Aegina * * * Still has archaic smile (odd b/c you wouldn't be smiling, removing an arrow)= psychological presence superhuman = perfection in death

* *Name**: Temple of Athena Aphaia. E. pediment diagram * *Period**: Early Classical * *Date**: c. 490 BC * *Original Location**: Aegina * * * has greek warrior that replaces the phrygian warrior of west pediment has dying warrior with shield & no smile

* *Name**: Temple of Athena Aphaia. E. pediment, left side. Dying warrior * *Period**: Early Classical * *Date**: c. 490 BC * *Original Location:** Aegina * * * new warror has shield, still pulling arrow from himself not smiling pathos of dying figure remains heroic = noble in facing his death

* *Title**: Temple of Athena Aphaia, east facade * *Date**: circa 490 BCE * *Artist/Culture:** Early Classical * *City/Site**: Aegina * *Country:** Greece * * * * Goddess Aphaia = local goddess combined w/Athena * temple of classical design * slimmer proportions, less entasis * figures are carved entirely 3D * entire composition is relevant * depicting Trojan war * Persians destroyed the west sculpture West (old) pediment = 2nd Trojan war (by Homer) c. 500 BC rear East (new) pediment = 1st Trojan war (not by Homer) c. 490 BC front

* *Title**: Kritios Boy, full front view & 3/4 back view * *Date**: circa 480 BCE * *Artist/Culture:** Early Classical * *City/Site**: Athens * *Country**: Greece * * * * emphasis on individual - end of the Kouros type * focus on men, not supermen * continues the form of the kouros * "Kritios" b/c it resembled the sculptor Kritios or one of his other sculptures * destroyed by the Persians * rigidity b/c of not anatomically correct musculature of someone at rest * contrapposto stance - resting w/weight on one leg * one knee is higher, one shoulder drops * less complicated to show at rest than movement * new technical ability to create a new psychological presence * turns head to the side - less rigid * muscles have a smoother transition between parts * better ribcage * more suble knees * hair is treated like a cap vs patterned wig (hairstyle then) * naturalistic, but not realistic - doesn't embody oone specific person/patron * still the ideal - like an ideal youth * reality is the platonic form (perfect/ideal) vs the actual * rejection of otherworldly - not platonic * natural proportions * smooth transition between body parts * psychological presence

* *Title**: Charioteer of Delphi, from Sanctuary of Apollo * *Date**: circa 470 BCE * *Artist/Culture**: Early Classical * *City/Site**: Delphi * *Country**: Greece * * * * severity of style helps psychological presence * survives b/c it was buried in a mudslide in 373 BC * large parts are destroyed - enough remains to figure out the narrative * offered as a votive to Apollo by Polyzalus after chariot race victory (as thanks) * statue is of Polyzalus on a chariot, pulled by 4 horses, & a groomsmen * drapery is tied back (to prevent ballooning while driving) * regularity is emphasized for severity * removes him from just an "every day" man * sense of dignity * originally made of bronze w/copper lips & eyelashes * would give a reddish sheen = more natural * eyelashes & glass paste eyes = natural * some curls were cast separately (vs carved lines) to add more naturalism * no patina when it was used * Polyzalus wears victory ribbon on his head, so the sculpture is of his victory drive * religious aspects = gods favor the winner, that's why they win * winner gets a sacrificed lamb, which they cooked at the temple * face is an introverted expression, no more archaic smile * indicative of his connection to the divine & humility to the high honor received = enobling virtue * humility over humble * highest literature focused on the great, not mundane

* *Name**: Artemisium Zeus (Poseidon) * *Period**: Early Classical * *Date**: c. 460 BC * *Original Location:** Artemisium * * * * violent action; violent = strong action of movement * found in a shipwreck off the coast of Artemisium * suggested that it was Zeus b/c of the weapon * thunderbolt was shorter & wouldn't cover the face * trident of Poseidon was longer & would cover the face * trident would actually go above the head = more dynamic composition as well * argument therefore has a flaw * violent action seen from all sides * significance of pose doesn't come from a specific myth but action of power/destruction * prep of throwing - arms pose & pushing off of foot * beard is portrayed w/a bit of naturalism, hair is still cap-like * avoids degree of patterning of the hair (previously inspired by middle east) * sculptor is showing a moment of rest in a violent action * god is poised to strike, is momentarily pausing beforehand to thinnk * significant narrative = power at rest * classical aesthetic = rest, poise, calmness, control, power * human being is now the ideal = less on gods & heroes * appearance of naturalism in a god figure is indicative of the people moving away from the divine & cult of heroes

* *Name**: Erectheion plan * *Period**: Late fifth-century Classical * *Date**: c. 421-405 BC * *Original Location**: Athens

* *Name**: Erectheion. Reconstruction view from the west. * *Period**: Late fifth-century Classical * *Date**: c. 421-405 BC * *Original Location**: Athens

* *Name**: Erectheion. View from the north. * *Period**: Late fifth-century Classical * *Date**: c. 421-405 BC * *Original Location**: Athens

* *Name**: Erectheion. S. porch ("Caryatid Porch"). View from southeast * *Period**: Late fifth-century Classical * *Date**: c. 421-405 BC * *Original Location**: Athens

* *Name**: Temple of Athena Nike * *Period**: Late fifth-century Classical * *Date**: c.425 BC * *Artist**: Possibly by Kallicrates * *Original Location**: Athens

* *Name**: Temple of Athena Nike. S. frieze: Persian defeat. * *Period**: Late fifth-century Classical * *Date**: c.425 BC * *Original Location**: Athens

* *Name**: Temple of Athena Nike. Relief: Nike, fr. Balustrade * *Period**: Late fifth-century Classical * *Date**: c.410 BC * *Original Location:** Athens, Acropolis Museum

* *Name**: Parapet of the Temple of Athena Nike. Relief: Victory prepares trophy * *Period**: Late fifth-century Classical * *Date**: c.410 BC * *Artist**: Kallimachos? * *Original Location**: Athens, Acropolis Museum

archaic

c. 700 - 490/480 BC ## Footnote people were recovering from Dark Age phoenicians introdduced them to alphabet introduction of iron up until battle of marathon

**Early Classical** **aka Severe Style**

c. 480 - c. 450 BC ## Footnote happened after the Persian War battle of Marathon (490), thermopylae (480), salamis (480, platea (479) xerxes & army flees, persians never come back & greece will never be conquered by persia free to develop their civilization convinced they could do ANYTHING believed polis system was awesome & now they had proof Develops Golden/Classical Age where all the art happens

**entasis**

en·ta·sis /ˈentəsis/ Noun **A slight convex curve in the shaft of a column, introduced to correct the visual illusion of concavity produced by a straight shaft.**

**geometric**

c. 900-725 BC ## Footnote greece is recovering from Dark Ages after the Great Catastrophe ability to read & write was lost

**kore**

* female sculpture * Korai = plural * clothed portrayals

**kouros**

* male sculpture * korai = plural * nude & young portrayal Used as: * grave markers * monuments to athletes * put outside temples for honor/votive offerings * erected to heroes Hero = not just someone who fought valiantly, but a hero of the people = a SAVIOR * cult of Heroes * male nudity is meant to indicate something other than nakedness * representation of heroes * state of physical perfection = ideal * platonic form ("form" or "idea")

**orientalizing**

c. 700-600 BC ## Footnote overlapped w/archaic

**metope**

Definition: a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the epistyle (lintel that rests on the column) of a building of the Doric order.

**triglyph**

Definition: an architectural term for the vertically channeled tablets of the Doric frieze, so called because of the angular channels in them, two perfect and one divided.

Midterm Flashcards

(56 cards)