OCR Greek Art L6th EoY Flashcards

Question

Francois Vase handle lady of the animals

Answer 1

- surrounded by animals - majestic, wide wings, holds - wields wild beasts, beautiful drapery - panther and deer

Answer 2

Ajax tries to save the body - Poignant- vulnerability seen - Lifelessness contrasts the Troilus band's vitality and prowess- very rich storytelling ○ Bulging muscle, reaching, sprinting ○ Vs ○ Eyes shut, hugeness of limp body ○ Arms limp ○ Hair hanging down ○ Eyes closed ○ Pathetic nudity - Running- bent knee pose - Sense of lifting him up- huge weight, huge feat for Ajax - Also indicates the compassion and love he has for Achilles to go to all of this effort to save him - Spear still faces upwards- protectiveness

Answer 3

- 570-560 BC archaic - Persephone pomegranate - older, matronly goddess - hair down is sorceress

Answer 4

- red colouring - pulls himation across desk - polos- headdress for goddesses - braided tied hair for older woman - wide hips and shoulders - very thick drapery- good to show body - v unrealistic at feet v bad proportions with head- makes her more imposing but less realistic - no movement in body- unrealistic - v geometric drapery, round hair - archaic smile, poor, swollen face- small so lacks detail

Answer 5

- Doric archaic - 575-550 BC - Temple C at Selinus - They tried to steal his weapons, tied them up, They laugh at his hairy bum and tell jokes about it, He laughs at their jokes and lets them go- Shows a different side of Herakles- charming and merciful side - metope- good because episodic

Answer 6

- unrecognisable Heracles- Cercopes good - use of overlapping lines- v good at filling space - legs too long and over-inflated - shallow relief - cohesive story and uncluttered unlike Medusa - classic Archaic features, pinched waist, bubbly face, smile- short hair :)

Answer 7

550-530 archaic - Only one narrative Overall: Well-organised, framed, single narrative, celebration of Dionysus fingers, feet anatomy archaic and unrealistic

Answer 8

- Heels of feet are raised- evokes excitement, dancing, joy, walking, lightness of movement, along with bend knee and curved drapery over it - Spotlighting effect – focuses on a single narrative - Archaic features: Eyes stare out, unrealistic anatomy (e.g. side eyes, long fingers/toes) - Repeated patterns – dresses, robes, poses - Maenads overlap – creates basic depth - Black-figure leads to confusion of bodies - Very similar maenads – same stance, mirrored arms - Orientalising and geometric patterning on dresses - Braided hair Maenads: - Show togetherness, camaraderie, charm - Wear animal hides – superhuman strength from gods - Jaguar skin – exotic, links Dionysus to the East - Holding vines Dionysus: - Holds kantharos (wine cup), vine garland - Exotic drapery, long hair and beard Opulent clothing: - Purplish red inside cloak - Ochre on front - Same colours used on maenads and panther’s head – makes scene vibrant, exotic, rich, lively - Earrings, necklaces, ivy bands in hair – mark Dionysus & maenads clearly Gesture – Dionysus holds out hand to greet/welcome – celebration & worship - Hair and beard very detailed, with lots of incision - Maenads’ patterning/drapery subtly different – they don’t blend into one - Hair down = unbound women, freedom and revelry - Heels raised, bent knee, curved drapery = joy, dancing, walking, lightness of movement Framing: - Concentric circles on either side – frame characters - Lotus bud below – forms a patterned base to stand on

Answer 9

540-530 BC archaic - 1.2 m - Peplos adorned with animals from the hunt - Hole in hand and raised arm- could have been holding a spear and bow - Spokes on her head- would have held headdress and crown - holes in ears for earrings

Answer 10

- Subtle asymmetry- One raised shoulder- carrying something and different weight and each foot - Red on eyes, hair and lips - Slightly voyeuristic if it is seen as the virgin goddess in a slightly sexual way- hair down drawing attention to breasts - Much more naturalistic smile- feels present and vivid

Answer 11

540-530 archaic Painter- Exekias - Exekias paints scene in the black belly of the vase, - without any additional banding on the belly or the neck again- spotlights the action.

Answer 12

Words: Greek 4 by Achilles and 3 by Ajax show Achilles is winning. Detail: Beautiful drapery and facial features. Achilles: Taller (helmet on), more imposing shield, holds spears loosely and apart, feet relaxed, winning Ajax: No helmet, spears held tightly (parallel), feet slightly raised = tension, losing Characterisation: - Achilles = mighty, powerful, rash. - Ajax = more alert, tempered. - Foreshadows Ajax carrying Achilles’ body later. Warfare: - Both have spears upright and shields beside. - Moment of calm, but war is near. - Shows peace, camaraderie, boredom. Composition: - Focal point in centre: - Spear cross, bent heads, hands, feet pointing inward, box/table- draws eye inward - Symmetry with subtle differences. - Spears lead eye out to handles, then curve back to shields = circular eye movement. - Spears, eyes, hands, feet all direct focus inward. Innovations: - Only one scene on vase belly, no bands = focus on action. - Choice of calm moment, not battle. - 3 and 4 are spoken- breathe from mouths – charming

Answer 13

540-30 archaic Myth: Pirates tried to abduct Dionysus (thought he was a prince); he made a vine grow on the sail, turned into a lion, scared them off, and they became dolphins.

Answer 14

Description: - Dionysus lies relaxed in a boat with a swan’s head at the stern and dolphin’s head at the prow. - Holds a drinking horn, under a white concave sail (shows wind). - Above: 7 clusters of grapes hang from a vine with lovely tendrils. - Surrounded by leaping dolphins with arched backs. Artistic Details: - White slip sail with outer line shows billowing wind. - Accurate rigging and oars, though oars appear relaxed and unused – the god uses the wind. - Dionysus wears a spotty leopard skin - Cohesion with boat: dolphin front and dolphins on the sea. - as drinker turns the cup, boat seems to sail in the wine. Themes & Symbolism: - God of wine inside a wine cup, surrounded by vines and wine-dark sea – clever and symbolic. - Dionysus = oversized, emphasising divinity. - ack of symmetry = relaxed, decadent, chaotic feeling – fits Dionysus' character. - Mood is relaxed, nonchalant, mischievous Successful Aspects: - sailing effect- Revealed through wine - Beautiful detail: Dionysus, vines, dolphins, boat. Unsuccessful Aspects: - Anatomy of humans and animals still basic.

Answer 15

530 BC archaic - connection of athleticism to goodness as he is a brave warrior who died in battle- bulbous legs

Answer 16

- Archaic smile EFFECTS the cheekbones- SWELL with smile :) - face less flat- babyish - MUCH more buffed and fleshy on upper body - still somewhat harsh in calves - v realistic ears - Cap and braids with curls- attempts at realism- red hair previously- greater definition Egyptian hair is stuck in the past - subtle back definition - too exaggerated bum and legs

Answer 17

525 BC archaic Trojan war

Answer 18

Trojan war - Memnon fights Achilles over the body of Antilochus - Antilochus dying and being protected by Memnon to Achilles Gods assembly - Ares, Aphrodite, Eos/Artemis, Apollo, Ares, Zeus, Athena, Hera, Thetis - gods sat in council to the side- pleading to Zeus/fate to protect their children - Artemis holds Apollo's face- pathos and emotion - Eos is leaning forwards, appealing for the life of her son Memnon - Thetis mirrors this on the other side- pathos of mothers - Ares on right with shield- sat back

Answer 19

gods - Pantheon separated Trojans vs Greeks the same way gods are - Artemis holds Apollo's face- pathos and emotion - Gods are seated showing they are bigger and more powerful- they are still far-removed - drapery is better than medusa Trojan war - Antilochus looks to audience- immersive- power of gods and gravity of death - sense of thrust and action- on balls of feet - Attempt at muscle definition- over-inflated as usual - Dead figure fills the bottom - Round shields fills space well, chaos of war so overlapping - Diagonal legs and frontal bodies fills top and bottom

Answer 20

525 BC archaic gigantomachy- Battle of the gods and the giants

Answer 21

- Hephaestus could be working bellows - Dionysus spears giant - Themis's chariot pulled by lions- biting giant - Apollo and Artemis attack together - line of 3 giants and fallen giant- pathetic nudity - Hera and Athena have drapery - Ares beat many - giants dressed as hoplites

Answer 22

- Fleeing giant looking back- pathos - Hoplites- idea of the gods administering punishment - dying giant- pathetic nudity- exposes vulnerability - Chariot pulled by lions- biting giant- intensity and drama of the face as the lion chomps- twisted body to try and attack Artemis and Apollo, dragged backwards, expression of wide eyes - Seeing the gods in action adds to awe and reverence - Aesthetically pleasing geometric shapes like legs and shields- chaos

Answer 23

510-500 BC archaic - Trojan war - Athena - Telamon's son Ajax political statement of ownership over them from Aegina

Answer 24

- Athena in the centre, Fighting comes outwards around Athena- idea of separation between gods and human - Aegis, likely with bronze gorgon- more imposing and powerful - framing and balance connects to narrative - archers mirror each other - dying warriors- no emotion, smiling, reclining casually- good to fill awkward slant- -triangles repeated- much better dynamic motion - Paris archer- conical hat, Effeminate- long hair, coloured dress, Innovative to fill the shape, but unrealistic as the body does not respond to the action and archery- draws gaze to dying warrior - attatched weapons would glint in sunlight

Answer 25

510-500 BC archaic funerary marker 1.95 m

Answer 26

- SHORT HAIR!- curled and realistic- layered - Shoulders much less exaggerated and bulbous -Symmetrical, but much less obviously- patterning is gone and replaced with delicate ideas of the muscle beneath - Thighs less bulbous- in PROPORTION - much less harsh knees - Star-shaped attempt at pubic hair - fleshy! buffed! much smaller muscles - bent arms!! legs still no movement- pose lets it down -Difference in height of knees- movement

Answer 27

490 BC early classical Material: Limestone Subject: Earlier sack of Troy by Herakles and Telamon (Ajax’s father) Also depicted on: Siphnian Treasury at Delphi & Parthenon Heroes: Ajax and Telamon — local heroes of Aegina (descended from Aiakos, son of Zeus and Aegina) Aegina vs Athens rivalry – competing over heroic ancestry Their central placement near gods = political statement of ownership - Shows suffering alongside Greek might – likely influenced by Persian War losses

Answer 28

Design & Composition - Similar to West pediment, but with key differences - Athena is central but now engaged in battle: Spreads arm out to direct and encourage Greeks, Framed by warriors Composition: - Some warriors face outwards = draws eye out, Most face inwards = draws focus back to Athena - Creates dynamic, vibrant energy – precursor to Zeus Temple & Parthenon - Action centred around Athena – conflict highlights her importance - Herakles (Right Archer) Identified by lion skin headdress - Twisted pose, kneeling, straight left arm - Focused eyes – aiming to shoot - Muscle definition superior to Paris (West pediment) - More realistic facial features and anatomy - Fallen Warrior (Corner) - Twisted in ¾ view, right leg behind left - Left arm hangs uselessly on shield - Muscles correspond to action - Head faces downward, right arm props body - Shows pain, effort, and life fading away, Evokes pathos – viewer sympathy - More classical musculature than West pediment Realism & Innovation - More realistic poses and expressions than West pediment - Herakles’ body and fallen soldier show clear anatomical accuracy - Celebrates Greek heroism, but also acknowledges war’s cost, Reflects cultural memory of Persian War losses

Answer 29

Date: 478–474 BC early classical Era: Early Classical Material: Bronze Patron: Polyzalus of Gela Purpose: Dedicated at Delphi for victory in the Pythian Games Bronze allows complexity: realistic limbs, spiral twist, fine detail Original Monument: Part of a larger group with: 4 horses (tails and legs found) Possibly a slave boy (arm found)

Answer 30

Pose: - Head turned right and slightly downwards – gesture of humility - Focused gaze towards horses – calm after the race - Body faces forward, feet angled left – subtle spiral composition Face: - Calm, focused, serene – not celebrating, but composed- Victory is for the gods, not personal glory - Eye Inlaid stone and glass, Eyelashes made from bronze - Well-carved lips, no archaic smile - Hair sculpted in ringlets and curls, especially around ears - Fillet tied at back – 3D curls emerge from underneath Clothing: Wears a chiton - Drapery billows above the belt, bunches under shoulder straps - Straps press into fabric, responding to tension on back - Deep vertical folds below waist resemble column flutes, lost wax Arms & Hands: - Outstretched hand grasps reins (now missing) - Fingers curl naturally – made possible by bronze’s tensile strength Realism & Innovation: - Breaks symmetry of Archaic style - Introduces emotion, calm dignity, humility - Improved anatomy: muscles correspond to action, especially in arm and feet Significance: - Monument celebrates victory, but with restraint and dignity - Reflects wealth and prestige of Polyzalus - Shows shift from Archaic stiffness to Early Classical realism

Answer 31

460 early classical Pelops (Stereope) and Oinomaos (Hippodamia) Zeus, preparation of horses, seer, boy picking toes, river gods in the corner

Answer 32

- Myth narrative, active tension, fills space - Previously dead/battle scenes to fill space; now pre-competition scene- tension - Choice of characters tells story; presence of seer - Zeus: Biggest figure, dominates scene, Overpowering pose, Temple dedicated to him - Oinomaos: Smaller than Zeus, fills space, subordinate status, Recognizable: beard, heavy muscles, Hand on hip, other hand open → speaking, giving race rules, Confidence, arrogance contrast with Pelops - Pelops: Head down, humble (hubris does not win), Toned, youthful figure, less bulky, wearing cap (charioteers’ headgear) - Hippodamia: Next to Pelops, lifting veil → foreshadowing wedding, Suggests Pelops’s success, Drapery: deep folds of chiton - Stereope- Wife of Oinomaus, Mourning pose: lowered head, raised hand, Wears chiton and himation → matronly, married, Smaller than men, fits pediment decline naturally - Stable boys, Fill space with decreasing height, Relevant to story, prepare horses - Seer: Adds foreboding tension, age and wisdom: bald, beard, sagging body, Hand raised to mouth in shock → sees future - Young stable boy next to seer- Playing with toes, oblivious to drama, Mundane, relatable, contrasts high emotion, endearing - River gods: Elasticity of view → direct sight back to focal point, Cohesive, ties sculpture to site (Olympics, local rivers, Zeus) - Tense moment before race- Each figure contributes to overall tension, Beautifully fills space, tells complex emotional story

Answer 33

460 early classical Centauromachy: Battle of the Lapiths and Centaurs Sculpted by Phidias (possibly not all by him), part of Temple of Zeus (460 BC, Doric order, Sanctuary of Zeus). Contrasts with the East pediment (race scene relevant to the Olympic games); the West pediment is more allegorical, representing civilization versus barbarism. - Less directly relevant to the Olympic games and local context than the East pediment. - Phidias May not have sculpted entire pediment; fewer sculptures on Temple of Zeus compared to Parthenon, focused on pediments and metopes.

Answer 34

Themes and Narrative Civilization vs Barbarism: - The Lapiths represent civilization: clean-shaven, wearing drapery. - The Centaurs represent barbarism: hairy, nude, animalistic- primal, brutal acts like biting and seizing women. - The Lapith women are assaulted but resist, elbowing and punching the centaurs, showing violence and struggle, not passive victimhood. - The exposed breast of one Lapith woman symbolizes vulnerability amid chaos. Athletic and Cultural Symbolism: - wrestling grips of Lapiths recall real Greek athletic wrestling holds, contrasting “civilized” athletic technique with the “barbaric” biting and wild fighting Apollo’s Role: - Positioned centrally, Apollo embodies order, justice, and civilization. - serene, passive face symbolizes the calm and dominance of civilization over barbarism. - His right arm is outstretched toward the Lapiths, supporting them- foreshadows Lapith victory. Emotional Tone and Expression: - Despite violent action, Lapiths’ faces are often impassive or neutral—typical of Early Classical sculptors experimenting with conveying emotion. - Contrasts with the chaotic, raw physicality of the battle Use of Space: - Figures fill the triangular pediment effectively. - Women at the edges kneel or hide, watching but trying to avoid danger, adding depth and storytelling. - Clear vertical symmetry down the center with Apollo, but less rigid than earlier pediments—mirror images of centaur bodies on each side show a move away from strict symmetry.

Answer 35

4 metopes- Nemean Lion, Cretan Bull, Apples of Hesperides, Augean Stables 460 episodic- good for telling these stories

Answer 36

Nemean lion: - Hermes and Hera on either side- contrast Heracles who looks younger- no beard, thinner, smaller- first labour - Athena has a maiden's hairstyle- he is young so she mimics this - Heracles is seen as tired after the battle: human side, his club is down to the side, head in his hands, good way to fill the space- his body is crunched at an angle- sets out growth and change in each metope to follow

Answer 37

Cretan Bull: - great diagonal shape with the bull rearing and Heracles lurching across- large X in the middle - the tail goes up and so does the arm- fills the space realistically -their bodies go one way but their heads go another- draws the attention is drawn back into the centre - Heracles could be pulling the bull's head back around- shows his utter strength- Heracles's body is well-muscled and tensed as his arm is pulling the bull back to face him

Answer 38

Apples of Hesperides: - The three vertical figures, Atlas, Heracles, and Athena- arranged to create visual excitement and balance. - Atlas’s arms are outstretched, Heracles’s arms bend at the top, and Athena’s arm mirrors Heracles’s bent position- variation fills the upper space, gives variety. - Heracles is depicted not in vigorous action but in focused struggle; his head is bent downwards- concentration rather than wild movement. - Athena fully frontal, Heracles full profile, and Atlas iat a 3/4 twist, diverse range of poses. - Athena is dressed simply, without military armor or weapons, labour of wit rather than physical combat. - Her ease and calm contrast with Heracles’s struggle- the gods’ superiority over mortals. - Athena’s right knee is bent slightly, subtly revealing the form beneath her clothing with respectful naturalism. - Atlas positioned on the far side, set apart as the “other”—a Titan- Athena and Heracles face Atlas in a different stance - Atlas and Heracles have well-muscled torsos- strong - The apples themselves would have been made of bronze, designed to catch sunlight and sparkle, making them a striking focal point in the metope.

Answer 39

- space in the metope is filled very successfully, balancing the figures - Athena is dressed simply, wearing only her helmet, which suggests the task involves both strength and intelligence. - arm is reaching out, indicating her support and guidance for Heracles. - There are spokes on her helmet, brass additions to the bronze sculpture - feet are less well-executed, with foreshortening and perspective not handled effectively - Athena fills the vertical space gracefully with a serene, vertical posture that contrasts with Heracles’s dynamic diagonal action- divine vs human - Heracles well-defined muscles and a beard, strength and maturity. - His body leans clearly forward- motion and exertion.

Answer 40

Date: 477 BC early classical Artists: Kritios and Nesiotes (40 years later) 🗡️Background: - Tried to assassinate the tyrant Hippias in 514 BC - Both died during the attempt – 1st martyrs for democracy

Answer 41

👫 Physical and Character Description: Harmodious: - Younger, taller, leaner, No facial hair, Less muscular build - Holding a weapon, about to strike- Represents youthful impetuosity - Body open and vulnerable to counter-attack- Killed in the attack Aristogeiton: - More muscular, bearded, older, stockier, defensive pose - Defensive pose, shielding body - Also offensive, but more cautious - Captured alive, not killed in the attack 🎨 Artistic Significance: - Sculpture channels age, story, and character clearly - Use of bronze allows storytelling through pose and detail - Celebrates sacrifice and struggle for democratic freedom

Answer 42

Found: In the sea off the Cape of Artemision, Greece Date: 460-450 B.C. Era: early Classical Material: Bronze - Silver inlay on beard, eyebrows, eyes, and lightning bolt- majesty and divine effect - Initially thought to be Poseidon because found in the sea - Trident would cover face, but lightning bolt small enough not to obstruct view - Severe style matches Zeus’ authoritative, kingly nature

Answer 43

🗿 Description: - Depicted standing boldly, throwing a lightning bolt - Frontal position with slight body twist - Legs spread wide; vigorous action pose - left foot on toes; right foot on heel with toes slightly off the floor – indicates forward motion and weight shift - Well-muscled, realistic anatomy (though legs a bit thin and less muscular for a god) - Silver inlay on beard, eyebrows, eyes, and lightning bolt - Arms outstretched, tensile strength of bronze allows elongation - Head, arms, and eyes focused directly on target - Severe style: no archaic smile, angry, majestic, fitting role as king of gods - 3D hair curls out from face; textured beard ⚙️ Innovations & Movement: - Pose shows vigorous action and potential for movement - Clever body twist with weight about to shift forward - Use of bronze well utilized for tensile strength and detail - Twisted body breaks strict frontal symmetry creating dynamic focus ❌ Unsuccessful Aspects: - Legs thin and lack muscle definition for a god - Side views problematic: face partially obscured by outstretched hand; back of head visible instead of face - Back view shows no detail or features - Arm holding lightning bolt not tense enough for throwing action - Right forearm slightly too long - Twist is not perfectly natural – still too frontal - Body and action don’t fully correspond perfectly - Mistakes lead to innovations toward perfection

Answer 44

Date: 450 B.C Era: early Classical Original likely better, as this is Roman copy

Answer 45

- Mid-pose of vigorous action: Arms in sweeping curve, contrast with angles of legs and knees - Whole body forms dynamic S-curve- Extremely innovative pose, groundbreaking use of bronze tensile strength - Improved muscle tone and realistic anatomy vs archaic statues - Facial features more realistic, face shows no emotion, very serene- doesn’t reveal tension or strain of competition - Angles of thighs, legs, feet not realistic; athlete would fall over - Muscles don’t correspond to action (like Artemision Zeus)- Not aesthetically pleasing from all four sides (like Artemision Zeus) - Hair treatment described as primitive by Pliny- flat

Answer 46

Date: 440 Era: mid/high Classical Sculptor: Polykleitos Type: Roman copy of Greek bronze Also called: The Canon Just under 7 feet high Not the original — full appraisal not possible - Mathematical proportioning- Statue demonstrates Polykleitos' proportional theory, Based on Polykleitos’ Canon - Coldness due to reliance on maths - Less dynamic than earlier works (e.g. Tyrannicides, Zeus, Discobolos) - 7:1 head-to-body ratio, top of the head to navel = navel to knee

Answer 47

- Mid-pose of walking and holding a bronze spear - Left leg trails (heel raised, knee bent)- Right leg weight-bearing, hip higher- Knees angled differently - Left arm bent, shoulder raised (weight of spear)- Right arm relaxed, shoulder lower - Stretch on left torso; contraction on right - Contrapposto — hips and shoulders angled - Muscles match action (pectorals bulge, body committed) - Head tilted, faces opposite to bent arm/knee (adds interest) - Right = straight verticals; left = angled knee and elbow - Angles of knees, hips, and shoulders mirror each other - Square build - Face shows little emotion — focus on bodily perfection - Muscles and anatomy highly realistic - Motion subtle, not exaggerated - Much more naturalistic than kouroi - Aesthetically pleasing from all sides- No obscured views - Left enlivened by bent elbow/knee - Right enlivened by head turn - Not overly vigorous — balanced dynamism

Answer 48

DATE: 420 B.C ERA: Late Classical Height: 1.83 m (over life size)- makes her seem divine and greater than mortals Located in the Athenian Agora Identified as Aphrodite due to alluring dress and pose First female studied with wet drapery technique In sanctuary of Apollo → “girlfriend”

Answer 49

DRAPERY - Wears a chiton and a himation around hips and thighs - Drapery is excessively opulent, swirling folds cling to the body - Chiton clings to breasts, revealing their form - Himation swirls under belly, highlighting curves - Drapery not over shoulders as seen before → now around thighs in a more sexual way - Fluid drapery = sensuous, erotic love POSE - Left knee bent, left foot placed behind pushes thigh forward → exaggerates flesh beneath - Contrapposto pose pushes right hip outward Suggests agile movement - Playful pose, hip thrusts to the side UNSUCCESSFUL ASPECTS - Too much drapery → hard to see body, overpowers the form, Difficult to assess realism due to drapery - Shape of belly too high

Answer 50

DATE: Around 420 B.C ERA: Late Classical Outside Temple of Zeus- Celebrates battle win

Answer 51

Women naked, even goddesses, was disgraceful → Sculptors used wet look drapery to suggest nudity Drapery clearly highlights womanly curves → Creates a sexual woman, but still realistically proportioned Wet look drapery done purposely to titillate men → Shows interest in the female body → Could only be done through drapery Nike descending from heaven → Idea of flying → Dynamic equilibrium as she descends → Drapery billows back → Wind blows it tight to her body → She is stepping down, would have had wings

Answer 52

SCULPTOR: Kephisodotos DATE: 375–371 B.C. ERA: Late Classical - holes in ears – would have worn earrings - Eirene (Peace) holds baby Ploutos (Wealth) - Allegory: Peace is needed for wealth to grow - Group sculpture – typical of 4th century - Placed in the Agora (marketplace)- political + philosophical significance, Economic hub of Athenian society, Site of civic discussion - 4th-century traits: emotion, abstraction, humanisation HISTORICAL CONTEXT - Peace between Athens & Sparta (374 B.C.) - Cult of Eirene founded (374 B.C.) - Peace deal between all Greek states (371 B.C.)

Answer 53

STYLE - Drapery is realistic and subtle, not sexualised- Suggests womanhood: childbearing hips, breast swell - Delicate folds at waist and over thigh - Himation bunches at shoulders - Less mathematical proportions: small head, long body POSE & FORM - Weight on left leg, right leg bent – highlights thigh - Contrast between: Curves of top half, Column-like folds of skirt - Right arm raised (possibly held staff/wine jug), left arm holds baby - Hair worn down, held by a band, curls over shoulder THEMES - Maternal emotion- Gazes serenely at baby; he looks back - Everyday, relatable moment- Humanising the gods – typical of 4th century - Baby Ploutos- Well-sculpted: ringlets, fat rolls, innocence- Would have held cornucopia → peace creates abundance - Less idealised form; more naturalistic drapery and proportions

Answer 54

SCULPTOR: Praxiteles (son of Kephisodotos) DATE: 340 B.C. ERA: Late Classical DESCRIPTION Height: 2.11m Material: Marble (Praxitilean trait) Found in a collapsed niche in Olympia in Temple of Zeus (Dionysus' father) Excavated 1877, undamaged due to fallen unbaked brick wall of the cella - Missing right hand held grapes → Dionysus reaches for them - May have held caduceus in same hand as Dionysus - Traces of paint: red + gold on sandals and hair - Blend of sculpture + paint = Praxitilean trait - Toolmarks linked to Roman tools → debate if Roman copy or touched-up later Dionysus reaches for grapes → foreshadowing his fate as god of wine Appears childlike, contrasts with his future cruelty

Answer 55

- Hermes holds baby Dionysus in left arm - Hermes' right arm rests on tree trunk, cloak with deep folds over it - Skin highly polished → conveys translucency and softness of flesh- Praxiteles believed marble better than bronze for human texture - Serene facial expression - Hermes’ eyeline towards Dionysus, Dionysus focused on grapes -Realism in face and hair PROPORTIONS & FORM - Small head, long legs - Relaxed S-curve pose - Weight on right leg, left foot behind, knee bent - Long, lithe body, not stocky like kouroi - Departure from Polykleitos’ Canon - Anti-formulaic, creative freedom, anti-Polykleitan - Downward force on arm = realistic weight-bearing THEMES - Humanisation of gods - Hermes teasing Dionysus → playful, trickster god INNOVATIONS - Return to marble in 4th century - Grouping + emotion in sculpture - S-curve pose - Paint and marble blend - Allegorical content - Realism over mathematical proportion - Translucent skin texture

Answer 56

SCULPTOR: Praxiteles DATE: 340 B.C. ERA: Late Classical HEIGHT: 2.04 metres MATERIAL: Marble (Roman copy of original) - First large-scale female nude in Greek sculpture - Likely gilded hair and jewellery, painted hydria and drapery - Marble + paint: known technique of Praxiteles - Commissioned by the people of Cos, who rejected it for being too shocking - Accepted by the people of Cnidos- Became a cult statue and tourist attraction - Placed at ground level – controversial and intimate - Nicomedes of Bithynia offered to pay off Cnidos’ debt in exchange – refused - Said to be modelled on Phryne, Praxiteles’ girlfriend - Compared to the myth of Actaeon and Artemis – viewer has seen what should not be seen - Seen as a patron of the Cnidians

Answer 57

DESCRIPTION - Nude Aphrodite, covering genitalia with her right hand- Emphasises her role as goddess of sexual love - Breasts clearly visible - Knees pressed together → emphasises swelling hips and thighs - Head turned left, eyes downcast- Demure expression, unaware → voyeuristic appeal - Left foot trailing behind, suggesting relaxation and modesty - Slight S-curve pose - Contrapposto: weight on right leg, left knee bent, right shoulder dropped, left shoulder raised - Balance: bent right arm + bent left knee - Twist of head makes it pleasing from all angles - Soft womanly curves, not girlish - Less matronly than Eirene, still mature and feminine DRAPERY & STRUCTURE - Holds drapery in left hand, hanging over hydria - Drapery and hydria = marble supports, Praxiteles hides structural strut - Contrast between soft flesh and rigid drapery/hydria - Sumptuous, realistic folds - Marble enhances translucent, soft skin STYLE - Contrapposto and S-curve - Tense left, relaxed right side - Small head, elongated body (anti-Canon) - Soft realism in anatomy and expression Ancient praise for: - Forehead, eyebrows, melting eyes, disdainful smile - Not well captured by Roman copies

Answer 58

SCULPTURE: Antikytheran Youth DATE: 340 B.C. ERA: Late Classical HEIGHT: 1.94 metres MATERIAL: Bronze Original statue

Answer 59

DESCRIPTION - Youthful male nude, athletic and robust - Tousled hair, full lips, and inlaid eyes (still intact) - Face is thoughtful, expressive – not idealised or blank - Bronze surface reveals rippled muscles and realistic skin detail Contrapposto: - Weight on left leg, right leg drawn slightly back - Right arm extended forward into the viewer’s space - Left arm relaxed, likely held another object - Head tilted with focused gaze on the (now missing) object - Muscular anatomy, exaggerated to show youth and vigour STYLE & INNOVATION - Breaks the frontal plane: Arm extends into the viewer’s space, Creates an intimate, immersive engagement Sculptural energy: - Despite lack of movement, pose is dynamic - Right leg and right arm suggest potential action - Hair and features prefigure images of Alexander the Great in Hellenistic art INTERPRETATIONS - Perseus- Would explain heroic, muscular build, Could be holding the Gorgon’s head, But: lacks typical attributes (helmet, winged sandals, shield), Would Perseus be gazing at Medusa’s head if it still had power? - Paris, Youthful, possibly holding apple of discord, Hand grip fits a rounded object, Thoughtful gaze fits the mythic dilemma he faced, But: Paris is often shown as effeminate, Eastern, and an archer, not a heroic, muscular warrior, Lacks the expected Eastern hairstyle or slender frame THEMES & CONTEXT - Not typical of Late Classical norms - Not an everyday scene, not a god, no companion figure - A bridge between Classical balance and Hellenistic dynamism

Answer 60

SCULPTOR: Lysippos (personal sculptor to Alexander the Great) DATE: 330 B.C. ERA: Late Classical MATERIAL: Original in bronze (Roman marble copies exist) HEIGHT: Life-size Depicts an everyday activity, rather than mythology or heroic moment- Makes the athlete relatable and humanised THEMES & CONTEXT - Reflects Late Classical interest in the individual and everyday life- Transition from idealism to realism and engagement- immersive arm - Breaks with tradition in both form and content - Example of sculpture designed to be walked around, not just viewed head-on

Answer 61

- Athlete depicted scraping oil from his body with a strigil after exercising - Right arm reaches straight out in front, breaking the frontal plane - Left arm crosses the body beneath the right arm, blocking a full frontal view - Use of foreshortening in the arms makes the sculpture project into the viewer’s space - Pose forces viewer to move around the sculpture to fully appreciate its spatial complexity - Not static: Implied shift of weight to the right foot - Contrapposto is enhanced with torsion and crossing limbs- S-curve visible in posture - Engaged musculature suggests recent exertion- Defined muscles, but not overly bulky → naturalistic athlete - Weight on left leg, but body appears to be shifting weight to the right, suggesting movement - Right leg bent and angled outward - Lean, wiry figure, elongated limbs, and small head → proportionally different from Polykleitos' Canon - Head slightly turned, with frown lines and tousled hair → gives sense of personalisation and realism - Figure conveys a quiet moment of daily life, rather than a dramatic action or divine scene STYLE & INNOVATIONS - Breaks frontal symmetry: - No longer harmonious from every angle like Polykleitos - Invites interaction: viewer must walk around to understand the pose Altered Canon: - Longer legs, smaller head, more slender frame - Moves away from idealised bulk of earlier athletes

OCR Greek Art L6th EoY Flashcards

Freestanding sculpture, architectural sculpture, vase painting: archaic, early classical, mid classical, late classical (85 cards)