Greek Art - Final Exam

The Siphian Treasury at Delphi, ca. 525

Material: architecture, marble

Location/Style: Delphi

Date: 525 BC (Late Archaic)

Significance: 525 BC date is known bc it is described in writing as 'the height of Siphnian wealth'. The first all-marble treasury and one of the most elaborately decorated of its time. Consists of three different types of marble all from islands in the Cyclades. The treasury itself was an 'agalma' to the gods. Freizes show Gigantomachy (North), Achilles and Memnon (East), a mythical abduction (South), and the judgment of Paris (West).

E. Frieze and Pediment; Siphian Treasury

Material: sculpture, marble

Location/Style: Delphi

Date: 525 BC (Late Archaic)

Significance: the left side shows the gods 'weighing the souls' to decide who lives/dies in the battle on the right, which shows Memnon and Achilles fighting over the body of a fallen warrior between them. Complex bc of its symmetry and depth/detail of each side of the frieze. Was likely on the most visible side because Siphons was rich in metals, thus the narrative identifies the authority of weighing on metals as an aristocracy/powerful activity.

N. Metope "Herakles and the the Keryneian Hind", Athenian Treasury at Delphi, ca. 490

Material: sculpture, marble

Location/Style: Delphi

Date: 490 BC (Late Archaic)

Significance: Herakles depicted in the 'third labor' getting the hind of Keryneian. Herakles is seen as a shared, Panhellenic hero -- which combined with the metopes of Theseus make the Athenian building a mix of both Panhellenic and Athenian pride.

"Herakles and Telamon fight Amazons" krater, by Euphronios, ca. 490

Material: pottery, terracotta

Location/Style: Athens (Red-figure)

Date: 490 BC (Late Archaic)

Significance: a krater with early red-figure technique that came from the Pioneer Group, or Euphronios' workshop that is credited with 'pioneering' the red-figure technique. It shows Amazons wearing elaborate leotards that Greeks later associate with Persians. It shows partygoers on the neck which suggest this was to be a centerpiece of a drinking symposium.

Rf. Hydria "Sack of Troy" by Kleophrades, ca. 500

Material: pottery, terracotta

Location/Style: Attica

Date: 500 BC (Late Archaic)

Significance: Depicts the sacking of Troy. Emphasizes the "sacrilege" by the killing on the altar and the weeping tree. Athens was distraught about the sacking. There are no Persians (rather Trojans) in this version, but after the Persian War, they use Persians dressed in traditional Persian clothing.

Attic Rf. Amphora, Berlin Painter, ca. 480

Material: pottery, clay

Location/Style: Attica

Date: 480 BC (Late Archaic)

Significance: shows a lyre player singing and playing – has slight detail in light slip. Different than earlier painters in that the Berlin Painter used red-figure to highlight various single/lone characters on either side of the vase.

Polyxenia Sarcophagus, from Didymon Teikhos, ca. 500

Material: sculpture, marble

Location/Style: Anatolia

Date: 500 BC (Late Archaic)

Significance: It is the earliest known stone sarcophagus with figures in the Greek world. The figure style is Ionian, as is the lid which resembles an Ionic roof. The front depicts Greeks sacrificing the Trojan princess Polyxena at the tomb of Achilles. However, the bones inside belong to a 40-year old man, thus being compared to Achilles -- this transforms the understanding of the casket from an image of brutality to that of extreme piety in the Greeks' eyes.

"Athena flanked by Warriors", central group from W. Pediment of T. of Aphaia, Aegina, ca. 485-480

Material: sculpture, marble

Location/Style: Aegina

Date: 485-480 BC (Late Archaic?)

Significance: the West pediment, with Athena shown in the center here of the sacking of Troy. This narrative was likely chosen bc Aegina played a leading role in naval Battle of Salamis. Including Athena in both depictions and in similar compositions shows the way the artist attempts to relate the two events as a link between current events and the mythical past.

"Fallen Warrior", figure from corner of W. Peidment of T. of Aphaia, Aegina, ca. 485-480

Material: sculpture, marble

Location/Style: Aegina

Date: 485-480 BC (Late Archaic?)

Significance: shows that this sculpture was Archaic in style -- the stiff pose, unnatural twisting, curly hair, 'archaic smile' despite dying. Also noted to be earlier than the east pediment because his feet don't face the corner.

"Dying Warrior", figure from corner of E. Peidment of T. of Aphaia, Aegina, ca. 485-480

Material: sculpture, marble

Location/Style: Aegina

Date: 485-480 BC (Early Classical?)

Significance: shows a similar warrior, but in early classical style -- emphasized weight, looks to be struggling/dying, skin ripples/folds, looks to be able to fall out of the pediment. Shows the added detail and technique of the new style as well as the new practice of putting a figure's feet towards to pediment corner.

Euthydikos’ kore, ca. 490-480

Material: sculpture, marble

Location/Style: Archaic

Date: 490-480 BC (Late Archaic)

Significance: one of the latest depictions of a kore in Late Archaic style. She wears an Ionian khiton which was the epitome of hiding the female body in the 6th century, and it can be seen that the folds still make no sense as real cloth which will be a large change in coming years. One can begin to see the presence of the 'ethos' developing in this kore as she looks somewhat upset or pouty.

"Kritios Boy", ca. 480

Material: sculpture, marble

Location/Style: Early Classical

Date: 490-480 BC (Early Classical)

Significance: shows the development of kore/kouroi into the Early Classical period. Most importantly, the development of the ‘ethos’, or the presence ofthought, which moves dramatically away from ‘archaic smile’. Similarly, the idea of the accurate shifting of weight, or 'contrappesto' becomes an important element in showing a ‘realistic way of standing’. The Early Classical style kouroi have an emphasis on naturalism that the Late Archaic and earlier versions did not.

"Apollo of Piraeus" Kouros, from Piraeus, ca. 520

Material: sculpture, bronze

Location/Style: Piraeus

Date: 520 BC (Late Archaic-EC?)

Significance: Thought to be Apollo because the fist looks to have held a bow. It is important in that the innovation of bronze statues allows the the artist more freedoms because it much lighter than marble. In this case, the arms are able to stick out of the figure (unlike marble)without fear of them breaking off and it creates the more potential for naturalistic style and posing that is not limited by the weight of marble.

Olympia, Temple of Zeus Plan (Architect=Libon of Ellis)

Material: Architecture/Limestone coated with stucco to imitate marble

Location/Style: Olympia/Doric Style

Date: 470-457 BC (First Half 5th Century)

Significance: Described by Pausanias in the 2nd Century AD. When it was completed, it was the largest temple on the mainland. Columns on sides are more than double that on Front and back. Must have been completed before 457 BC when the Spartans dedicated a gold shield to commemorate a victory over the Athenians. Adorned with many sculptures. 3 things stand out about sculptures 1) Treatment of narrative, 2) Integration of Sculpture and Architecture, 3) Emphasis on psychological drama

Olympia Temple of Zeus: East Pediment: "Pelops Race"

Material: Architecture/Marble

Location/Style: Olympia

Date: Before 457 BC (First Half 5th Century)

Significance: Figures are massive. Zeus presides over preparation for a Chariot race between Pelops and King Oinomaos of Pisa. Could have deeper meaning of how Zeus decides what constitutes fair play at Olympia. One of the earlier examples where the central pediment figure (god) is understood to be invisible to the other characters.

Olympia Temple of Zeus: East Pediment: A Seer Gazes at Zeus in Wonder (Iamos?)

Material: Architecture/Marble

Location/Style: Olympia

Date: 460 BC (First Half 5th Century)

Significance: This is the only character in the East pediment that can see Zeus. He additionally might have foresight into what will happen.

Olympia Temple of Zeus: East Pediment: O-Kneeling Girl

Material: Statue or Architecture/Marble

Location/Style: Olympia

Date: 460 BC (First Half 5th Century)

Significance: Figure on the East side of the pediment at the temple of Zeus in Olympia. (Not much else on this one)

Olympia Temple of Zeus: West pediment (Battle of Lapiths)

Material: Statue or Architecture/Marble

Location/Style: Olympia

Date: 460 BC (First Half 5th Century)

Significance: Shows the Battle of Lapiths where centaurs attack and carry away women at a Lapith wedding. The way the scene is set up, it implies that the Greeks did not view all violence in a negative context. Only misdirected violence is uncivilized. the Humans in the scene maintain control while the centaurs look wild. Apollo points in the direction of Zeus.

Olympia Temple of Zeus: West Pediment: H, I-Deidameia, The Centaur Eurytion

Material: Statue or Architecture/Marble

Location/Style: Olympia

Date: 460 BC (First Half 5th Century)

Significance: This depicts a Lapith warrior fending off a Centaur from the west pediment of the temple of Zeus. Again shows how misdirected violence is seen as uncivilized.

Metope of the Temple of Zeus at Olympia: Heracles Supporting the Vault of the Sky

Material: Statue or Architecture/Marble

Location/Style: Olympia

Date: 460 BC (First Half 5th Century)

Significance: From the east porch. Depicts Heracles holding up the sky with Athena's help. All metopes at the Temple of Zeus were dedicated to Heracles'12 Labors. This is different in that it attempts to continue a single narrative throughout the temple. The Athenian treasury at Delphi provides some precedent for this.

Wedding of Zeus and Hera: Metope from Temple E at Selinus

Material: Metope/Marble

Location/Style: Selinus (Early Classical)

Date: 470 BC (First Half 5th Century)

Significance: Followed the temples at Olympia by placing 6 carved metopes on the front of the temple. A lot of these carvings followed older styles however. With figures standing flush to the background and drapery falls in stiff zigzag patterns. More closely resembles Athenian Pottery than Olympia sculptures. Hera is removing her veil in the standard gesture of a bride on her wedding night. Poses recall that of Harmodios

Raice Bronze: Statue of a Young man w/ Headband (Warrior A)

Material: Bronze

Location/Style: Found in the sea off Raice Marina in southern Italy (Believed to be made in Argos)

Date: 460 BC (First Half 5th Century)

Significance: Found in 1972, these two statues are some of the finest existing works from the period. There is an incredible amount of detail on these statues. The teeth are covered with silver, the nipples with bronze etc. In additon, these statues carry with them a type of "sexual" charge. These statues stand in contrast with the more reserved Charioteer of Delphi. We can see that by this time the idea of "contrapposto" is very well developed. Have a sort of "present" expression on their face.

Raice Bronze: Statue of a Young man w/ Helmet (Warrior B)

Material: Bronze

Location/Style: Found in the sea off Raice Marina in southern Italy (Believed to be made in Argos)

Date: 460 BC (First half 5th Century)

Significance: Found in 1972, these two statues are some of the finest existing works from the period. There is an incredible amount of detail on these statues. The teeth are covered with silver, the nipples with bronze etc. In additon, these statues carry with them a type of "sexual" charge. These statues stand in contrast with the more reserved Charioteer of Delphi. We can see that by this time the idea of "contrapposto" is very well developed. Have a sort of "present" expression on their face.

Statue of Charioteer: Front View

Material: Marble

Location/Style: Motya (made in Greece though)

Date: 460-450 BC (First Half 5th Century)

Significance: Used to be believed that he was driving a chariot but this is not so anymore due to his pose. Think its a victorious musician. This shows how even the clothed male body took on sexual charge in the 5th century. This could be due to the context and due to the "hat wearing ceremony for Dionysus that was held with young men. Closely resembles statues from Temple E at Selinous.

Ludovisi Throne: back C. panel, the Birth of Aphrodite

Material: Parian Marble

Location/Style: Palazzo Altemps, Rome (Originally from Temple of Aphrodite at Lokri-on-the-Wast)

Date: 470 BC (First Half 5th Century

Significance: This is a very unusual relief as most sculpture was used to decorate temples. The back panel shows the birth of Aphrodite. (Flute girl and girl burning incense on other sides). The artist is experimenting with nudity here by showing aphrodite covered on bottom but exposed on top. We are meant to interpret what is underneath the cloak. The "seasons" wear the two classical types of greek clothing for women, a Khiton and a peplos.

Discus Thrower (By Myron, 5th Cent. B.C.

Material: Marble (Roman Recreation of Bronze Original

Location/Style:

Date: 460 BC

Significance: Possibly one of many statues made by Myron to celebrate the victor of a discus competition. The original bronze does not survive only Roman marble copies. Again showing contrapposto. The figure resides in one plane.

Doryphorus (Spear Bearer): By Polykleitos (Roman Copy of Greek Original)

Material: Marble (Bronze original)

Location/Style:

Date: 460 BC (First Half 5th Century)

Significance: The masterpiece of Polykleitos. Manages to capture a certain ambiguity between stillness and movement while seeming lifelike and in a natural pose. This statue saved the "nude statue" in Greece. After this point, only bearded young men and gods are depicted as naked. Based on his face he seems very detached from reality. The original bronze is lost but we have many Roman marble copies. (He almost reacts to the pose he is in). Polykleitos invented a new system of proportions for this statue.

Colossal Athena at Parthenon by Pheidius (Reconstruction)

Material: Ivory and Gold

Location/Style: Athens (Parthenon)

Date: 432 BC (2nd Half 5th Century)

Significance: This shows the advances that were made in making ivory and gold statues. There was a new method invented of heating the elephant tusk and then unrolling it. This allowed the statue to be covered in thin sheets of ivory. It also shows the grandeur of the parthenon at this time. The statue of Athena was incredibly large.

Material: Pentelic Marble

Location/Style: Athens

Date: 447-432 BC (Statue dedicated in 438)

Significance: One of the most Iconic buildings of Ancient Greece. Was more of a treasury than a temple and had an adyton. Was built to keep the tributes from the Delian League safe. Housed the Colossal Athena statue.

Was really over the top and employed numerous optical illusions to make the building look perfect.

Used Magical 4:9 ratio.

Mixed both Doric and Ionic styles. The Ionic Frieze was added at the last minute.

Ostentatious as a building and covered with more sculptures than other temples.

Doesn't really have the three things for it to be a temple:Cult Statue, Place of Worship, and Space for offerings/sacrifice.

Know it was Doric Style due to the Triglyphs and metopes used.

Perikles pushed for its creation

Parthenon Plan: Ictinus and Callicrates

Location/Style: Athens

Date: 447-436 BC (Statue dedicated in 438)

Significance: One of the most Iconic buildings of Ancient Greece. Was more of a treasury than a temple and had an adyton. Was built to keep the tributes from the Delian League safe. Housed the Colossal Athena statue. Was really over the top and employed numerous optical illusions to make the building look perfect. Used Magical 4:9 ratio. Mixed both Doric and Ionic styles. The Ionic Frieze was added at the last minute. Ostentatious as a building and covered with more sculptures than other temples.

Doesn't really have the three things for it to be a temple: Cult Statue, Place of Worship, and Space for offerings/sacrifice.

Interior U-shaped colonnade is unusual.

Material: Marble

Location/Style: Athens Acropolis

Date: 438-432

Significance: The East pediment especially takes the classical fondness for see-through drapery to a new extreme. The East Pediment is organized around time with the chariot of the sun rising on the left and the chariot of the moon setting on the right. This sets the Scene at Dawn or the moment of Athena's birth.

There is a careful arrangement of figures to make it triangular.

Parthenon, East Pediment. Three Goddesses (Hestia, Dione, and Aphrodite?)

Location/Style: Athens Acropolis

Date: 438-432

Significance: The one exposing her bare shoulder is probably Aphrodite. Again, this pediment takes the classical fondness for see-through drapery to a new extreme. The way the fabric behaves is not true to life. It is about creating visual richness. The East pediment is static marking the entrance while the West is dynamic encouraging motion.

Parthenon Lapith and Centaur [metope XXVII (27) From South Side]

Location/Style: Athens Parthenon

Date: 447-438

Significance: South side Metopes depicted the Battle between the Lapiths and the Centaurs. The Lapith stands before a series of Chain folds. This illustrates new "interactive" Space of classical sculpture. The frame of the panel has now become a boundary to be crossed. The figures can appear to leap from the frame. This is one of the four themes found on the different sides of the Parthenon. The other three are Amazonomachy, Gigantomachy, and Helen taking refuge at the statue of Athena.

Parthenon: Centaur Lapith [Metope XXX (30) from South Side]

Location/Style: Athens Parthenon

Date: 447-438

Significance: South side Metopes depicted the Battle between the Lapiths and the Centaurs. The Lapith stands before a series of Chain folds. This illustrates new "interactive" Space of classical sculpture. The frame of the panel has now become a boundary to be crossed. The figures can appear to leap from the frame. Not sure what unique to say about this metope vs 27.

Parthenon exterior: West Cella Frieze Panathenaic 7/12; Riders and Riders preparing for Cavalcade

Location/Style: Athens Parthenon

Date: 447-436

Significance: This is begining of the Frieze and the depiction of the Panathenaic festival it depicts. On this Frieze, the procession splits into two, one going down the south side and the other around the west and up the north. Most of the figures on this part of the Frieze are horsemen. The Frieze shows how the democracy liked to depict most of its citizens as elite since they were on horseback. Calvary was not really important anymore in warfare and could be recalling the old elitist tendencies.

Some debate over whether this was a real procession. Since the figures are naked it is clearly heroicized.

Since theres 192 figures (# of Athenians who died at Marathon) Could commemorate this victory.

Parthenon South Frieze: Horsemen in the Panathenaic procession

Location/Style: Athens Parthenon

Date: 438-432

Significance: Again, this is a depiction of men on horseback from the Ionic Frieze on the Parthenon. This serves to show how different the Frieze and the metopes are in terms of style and the depth of the carvings.

Stylistically, all men have same hairstyle and expression.

They are all naked so is clearly Heroicized.

South and North Friezes have feelings of sacrificial procession.

West Cella Frieze - Panathenaic 2; Riders

Location/Style: Athens Parthenon

Date: 447-436

Significance: Not entirely sure what to say here that hasn't been said already.

Again, this is a depiction of men on horseback from the Ionic Frieze on the Parthenon. This serves to show how different the Frieze and the metopes are in terms of style and the depth of the carvings. Stylistically, all men have same hairstyle and expression.They are all naked so is clearly Heroicized.

Parthenon East Frieze: Women in the Pan-Athenaic Procession, carrying incense-burner, vases, and phiale

Location/Style: Parthenon Athens

Date: 438-432 BC

Significance: This piece of the frieze gives clues as to who the Caryatids on the porch of the Erechtheum. They share the same elaborate hair style. It requires more than one person to do this and indicates that these were women from very affluent families.

Parthenon East Frieze: Attic Eponymous Heroes and Olympian Deities (Hermes, Dionysus, Demeter, Ares?)

Location/Style: Athens Parthenon

Date: 438-432

Significance: This picture contains 10 men standing around holding staffs. Could be that these men are the heroes/founders of Athenian democracy.

Parthenon: Ext.: E Cella Frieze Panathenaic 5 "Hera, Zeus and Bearers"

Location/Style: Athens Parthenon

Date: 447-436 BC

Significance: This scene depicts the presentation of the peplos to the gods. The gods have their back turned to what is about to happen. This scene from the East Side of the Frieze is revolutionary. The implication here is that an awful myth is about to occur so the gods turn their backs on what is about to happen. Could also be that the gods are circled around something and aren't supposed to be in the same plane of action as the other figures.

Parthenon: Ext.: E Cella Frieze; Panathenaic 5; "Presentation & Gods"

Location/Style: Athens Parthenon

Date: 447-436 BC

Significance:This scene depicts the presentation of the peplos to the gods. The gods have their back turned to what is about to happen. This scene from the East Side of the Frieze is revolutionary. The implication here is that an awful myth is about to occur so the gods turn their backs on what is about to happen. Could also be that the gods are circled around something and aren't supposed to be in the same plane of action as the other figures.

Propylaia Plan Designed by Mnesikles

Location/Style: Athens Entrance to the Acropolis

Date: 437-432 BC

Significance: This new propylaia puts you parallel with the Parthenon upon entrance. Its size and splendor shows that it was more than just a gatehouse. It was a prelude to the Akropolis. The shape of the site presented many challenges, leading to its design which looks symmetrical but is not. To connect the inner(uphill) and outer(downhill) sides, Mnesikles elevated the ceiling with Ionic columns to make a smooth transition.

Athens (Acropolis): Propylaea: reconstruction of west elevation

Location/Style: Athens, entrance to the Acropolis

Date: 437-432

Significance:This new propylaia puts you parallel with the Parthenon upon entrance. Its size and splendor shows that it was more than just a gatehouse. It was a prelude to the Akropolis. The shape of the site presented many challenges, leading to its design which looks symmetrical but is not. To connect the inner(uphill) and outer(downhill) sides, Mnesikles elevated the ceiling with Ionic columns to make a smooth transition.

Work was halted int 432 when the Peloponnesian war broke out.

Athens: Acropolis: Erechtheion General view (Mnesicles?) from Southwest (Temple of Athena Polias)

Location/Style: Athens Acropolis

Date: 421-409

Significance: Work began after the death of Perikles as he was against building a new cult building. The new temple was squeezed inbetween the ruins of the old temple and the Parthenon. The temple was a challenge because it had to hold its own against the Parthenon and yet be squeezed into a small space. This is also unique because the architect put the back porch on the north in order to avoid other shrines (would expect to see this on the west). There is a false porch on the West side of the temple to try and match the 6 columns on the front or East side. Also added the Caryatid porch to balance the new north porch.

This temple was very opulent. The ionic capitlas were of unparalleled richness.

Erechtheion (Erechtheum) on the Acropolis Caryatid porch of temple of Athena Polias

Location/Style:

Date: 421-406 BC

Significance: Contained 6 statues of the Caryatid type modified to use as columns. This porch was put in to create symmetry with the north porch. In addition, this porch sat ontop of the old temple. This symbolized a union of the old and the new.

Caryatid figure from S. portico of the Erechtheum (Acropolis, Athens)

Location/Style:

Date: 421-406 BC

Significance: An example of a Caryatid statue from the Caryatid porch on the Erechtheum. This statue has a very elaborate hair style. It is from this hair style and from the women on the east side of the Frieze from the Parthenon that gives us clues as to who these statues are supposed to be.

Acropolis: Temple of Athena Nike: View from South East facade (Designed by Kallikrates)

Location/Style: Athens Acropolis.

Date: 421- 415 BC

Significance: Called the Jewel of the Akropolis. It is called this because it is small and yet incredibly elaborate. It is Amphiprostyle or has a porch on both sides. It has the divine assembly over the entrance. This was built on the remnant from the Mycenean wall. The Ionic frieze has myth mixed with real battles.

Frieze from Temple of Athena Nike: Greeks fighting Persians (Battle of Marathon?)

Location/Style: Akropolis of Athens

Date: 421-414

Significance: This is probably depicting the battle from the Frieze of the Temple of Athena Nike.

Temple of Athena Nike, South Frieze. (Masistios Falls from his Horse?)

Location/Style: Athens/Acropolis

Date:421-415 BC

Significance: This is the south Frieze from the temple of Athena Nike. This possibly depicts Athenians ambushing a Persian general Masistios who is falling from his horse. This shows things depicted in the friezes are no longer generic scenes of myth. These types of images serve to show how the sculpture is focused on capturing almost snapshots or an instant for the first time.

Temple of Athena Nike, Sculpture relief on Parapet: Nike Leading the Bull to Sacrifice

Location/Style: Athens

Date: 427 BC

Significance: This was a low protective wall added around the temple of Athena Nike. This was added to celebrate recent military successes. This depicts winged Nikai (victory) in a procession leading sacrificial bulls to Athena. They have light and delicate cloth. They were designed to be purposely sexual.

Nike (Victory) Adjusting her Sandals from Parapet of Temple of Athena Nike

Location/Style: Acropolis

Date: 410-405

Significance: The act of removing the sandal is associated with the brides last act before losing her virginity. There appears to be some intentional interest in a form that is out of balance. One of the most erotic works of art found on the akropolis. The drapery almost appears transparent.

Creator: Niobid Painter

Material: Ceramics

Date: c. 460 BCE

Location/style: Athenian Red Figure

Significance: Direct lines; Deathof the Niobids (the children of Niobi); Mother boasted that she had more children thanLeto – Apollo and Artemis immediately come downand kill all of her children

Date: c. 410 BCE

Creator: Pronomos Painter

Material: Ceramic

Significance: Backstage at a satyr play

Date: c. 445-440 BCE

Material: potter's clay, red figure

Style Period: Attic

Location: Athenian red-figure amphora from Vulci

Significance: Shows the idealizing facial features; line on the bottom; clear lines

Date: 465-420 BCE

Material: Ceramic

Significance: Used the white ground technique = white background and painting is applied over it--Advantages: color sticks out more, sketch style, use different shades

-Shows the departure of the warrior; eye from the side

Creator: Group of the Reed

Location: Euboea Island; From Attica

Significance: Uses the white background style

Date: c. 450-440 BCE

Period: Classical

Material: Parian Marble

Significance: shows how the style is changing - drapery clings to the little girl's body and the peplos is belted and fall's open - revealing even on a child

Date: c.440 BCE

Material: Marble

Significance: Realistic stance and drapery moldsaround the body; Isit the cat the main focus, or simply there?; Youngman has a dove in his hand and has just opened a bird cage and released another - shows that man was wealthy enough to own a bird

Date: c. 400 BCE

Period: Classical

Significance: Shows the maid and mistress relationship (has been previously depicted); Shows symmetria = symmetry and balance; Idealized facial features

Date: c. 394-393 BCE

Material: Marble

Significance: Uniquely BOTH birth and date year are present-most likely to indicate that he was too young to have been present in the Athens coup; Is a cenotaph (empty grave) - stele is located in the family tomb, but the body was most likely buried in the general war grave in the Center of Athens

- Dexileos is characterized as heroic with flowing drapery while nakedness of cowering man indicates vulnerability

Creator: Paeonius (Paionios)

Date: c. 420 BCE

Period: Hellenistic

Significance: The sculptor,Paionios boasted about his skill in making this; Victory monument of Athenians overSpartans

Date: Late 5th Cent. BCE

Significance: Unusual plan – there’s a side door; columns andthere lengths (different from the canon of the time – more in line with thearchaic styles – maybe because it was a rebuild?); points North to Southinstead of the usual East to West

Date: Late 5th cent. BCE

Significance: Columns werecomposed with drums so that they would have some sway capability/wiggle room incase of an earthquake; Center columnwas not Doric because of the special base = the one Corinthian capital

- Like Parthenon because has pi shapedcollinade around cult statue like Parthenon (Iktinos built both)

Date: c. 420 BCE

Location: Bassai

Material: Marble

Significance: depicts a common enemy; Classical fascination of patterned drapery advances- cloth streams from figures against the back plane of the relief in flat, decorative billows; located along the inside of the temple; Amazons are represented in a semi sympatheticmanner

Date: c. 420 BCE

Material: Marble

Significance: depicts a common enemy; Classical fascination of patterned drapery advances- cloth streams from figures against the back plane of the relief in flat, decorative billows; located along the inside of the temple; Amazons are represented in a semi sympatheticmanner

Date: c. 420 BCE

Location: Bassai

Material: marble

Significance: depicts a common enemy; Classical fascination of patterned drapery advances- cloth streams from figures against the back plane of the relief in flat, decorative billows; located along the inside of the temple; Children are involved -> makes it much morehorrific, gives more reason to identify with it -> gives it even moreemotion (especially in contrast to the Centauromachy represented at the Templeof Zeus); Super clingydrapery and the removal of clothing <- still not super ok, shows that it’s aviolation

Date: 334 BCE

Description: by Pithius

Location: Priene

Significance: Laid out on a grid - perfectly consistent set of proportions throughout the building

Date: 2nd cent. BCE

Location: Macedonia; Pella, Greece

Significance: The central subject of this mosaic is reminiscent of the well known votive group of Krateros in Delphi, which represented Alexander being saved at the last moment by Krateros

Date: late 4th cent. BCE

Location: Pella, Greece

Signed by Gnosis

GAA 13.6

Significance: signed; Aheroic level of nudity -> even in hunting it has become the standard - Poseused to have a very anti-elitist connotation, but now advertises hunting,fighting, etc; Showinghunting scene in a Macedonian dining room shows their values, elite past time(Macedonians were often viewed by Greeks as barbarians)

Significance: One of thewonders of the Ancient World; Combineslifesize and colossal statues- thescale is incredible

- Mausoleum= a monument to the death of Mausolenus

- Panhellenic effort - marble from all over the Grecian empire

Attributed to Skopas (?)

Date: c. 355-330 BCE

Material: Marble

Significance: best evidencefor the style of the mausoleum; Amazonsare naked and holding their own (sympathetic to the Amazons) - > takes on anew significance in the Persian Empire; intensity of musculature

Attributed to Skopas (?)

Date: c. 355-330 BCE

Material: Marble

Significance: best evidence for the style of the mausoleum; Amazons are naked and holding their own (sympathetic to the Amazons) - > takes on a new significance in the Persian Empire; intensity of musculature

Date: c. 355-330 BCE

Material: marble

Significance: Using a “drill” technique – provides better roundededges, able to define features better; one of the first examples of a direct representation of a person

Material: bronze sculpture

Location/Style: Athens, Late Classical

Date: 350 BC (Late Classical, mid 4th-century)

Significance: Broken nose and cauliflower ears characterize sculpture as a boxer, but not a particular one. Shows strong emotion in the scowl and wild, curly hair--increased realism.

Material: bronze sculpture

Location/Style: Piraeus/Delos, Late Classical

Date: ca. 350 (Late Classical, mid 4th-century)

Significance: Shows that even in divine statues, there's an increased emphasis on realism. Compared to past Athena statues, this one seems more sad/mournful, approachable, and real/heavy. Depicting gods this way was previously not ever done. Moves away from sternness of Archaic/Classical style gods and away from 'wet drapery'.

Material: bronze sculpture

Location/Style: Marathon, Late Classical

Date: ca. 330 (Late Classical, late 4th-century)

Significance: Praxiteles known for his "3 S's"; Sensuality (boyish), Softness, and S-curved body. This sculpture is especially good at showcasing these aspects of his style.

Material: marble sculpture

Location/Style: Kindos, Late Classical

Date: ca. 350 (LC, mid 4th-century)

Significance: Praxiteles was 1st sculptor of this period famous for working with marble over bronze. This sculpture was so popular because it showed a female deity naked which was revolutionary. Clear sexual tones though context (bathing?) is unclear. Knidos is somewhat distant from Athens, so perhaps less taboo for these 'less Greek' people. Again, shows the 3 S's.

'Agias of Pharsalos' by Lysippos, ca. 336

Material: bronze sculpture

Location/Style: Delphi, Late Classical

Date: ca. 336 (LC, late 4th-century)

Significance: a victorious athlete as part of the Daochos statue group that represented famous members of the family who dedicated them. Notable for showing Lysippos' style--small heads, slim proportions, and lean muscles. His 'new proportions' are commonly compared to the master sculpture Polykleitos.

Material: bronze sculpture

Location/Style: found in Losinj, Late Classical

Date: ca.350 (LC, mid 4th-century)

Significance: Depicts an athlete oiling himself or scraping off the oil. Detail of the head again shows it is smaller in proportion and lean muscles.

Material: marble sculpture

Location/Style: Pergamon

Date: ca. 200 (2nd-century)

Significance: Shows typical depictions of Alexander that emerge in portraiture; boyish/unbearded, middle-parted hair ('anastole'), deep-set eyes, and slightly-opened mouth. Many suggest he shows intensity and yearning.

Material: marble sculpture

Location/Style: Sidon, Hellenistic

Date: ca. 320 (Hellenistic, late 4th-century)

Significance: From the tomb of King Abdalonymos of Sidon. Extremely well preserved because of undisturbed/underground tomb. More than any other period piece, this shows the coloring of the sculpture very well. Also very extreme detail of battle scenes (overlapping, 3D elements/shading). Parian marble suggests that it was commissioned by an Athenian sculptor.

Material: marble sculpture

Location/Style: Sidon, Hellenistic

Date: ca. 320 (Hellenistic, late 4th-century)

Significance: Reliefs show Abdalonymos and Alex fighting together in battle and in hunts, on alternating sides. This part shows Alex fighting a Persian and the detail/depth in the Persian's cape and the horse's legs rearing up in front.

Material: marble sculpture

Location/Style: Vergina, Hellenistic

Date: Late 4th-century

Significance: Fresco on the facade shows Alexander hunting with his father. Hunting was a common theme in Macedonian imagery.

Material: architecture

Location/Style: Vergina, Hellenistic

Date: Late 4th-century

Significance: Thought to be tomb of Philip of Macedon because it was a undisturbed mound tomb with lots of gold/bronze armor. Cremations were found in a golden box, wrapped in purple/gold cloth. Bone analysis was thought to match Philip's facial scarring.

Material: fresco

Location/Style: Vergina, Hellenistic

Date: Late 4th-century

Significance: Shows myth of Hades abducting Persephone as Demeter looks on in horror. Thought to be the tomb of a princess but later determined to likely be the real tomb of Philip. Myth may suggests rebirth (Persephone comes back) or that Philip was taken before his time. Notable for its very little outlining on the shading of the cloth (departs from past styles) and its depiction of movement (rather that realism).

Material: mosaic

Location/Style: Thmuis, Egypt

Date: ca. 200 (2nd-century BC, Hellenistic)

Significance: notable in that it is a depiction of an allegory--she literally represents a symbol of naval victory by wearing a ship's prow while holding a ship's mast in her hand. She is abstract and 'unreal' with her superhuman eyes and medusa-like hair.

Material: architecture

Location/Style: Didyma, Hellenistic

Date: ca. 330 (Late 4th-century BC)

Significance: Archaic temple that was rebuilt after being unfinished. Theatrical in style--returned to the 'forest of columns' effect. Interestingly, had two Corinthian columns at the entrance. Also, to enter, one had to go down a tunnel and come out into the light where there was a 'surprise' smaller space that held the shrine.

Material: architecture

Location/Style: Pergamon, Hellenistic

Date: ca. 180 (Early 2nd-century)

Significance: the Great Altar was an elaborate, high-quality statement by the Pergamon rulers during this time (probably Eumenes II). There is debate to whether it was actually used as an altar or just as an icon. Had a continuous frieze, but unlike any other, went around the base by the stairs. Also, the inner space is decorated with a frieze along the inner wall with half-columns. Sculptures on the roof seem similar to the style of the Mausoleum of H. Perhaps to represent the tomb of their founder? Also suggested that the Pergamon rulers may have been attempting to make a Hellenistic center at Pergamon.

Material: marble sculpture

Location/Style: Pergamon, Hellenistic

Date: ca. 180 (Early 2nd-century)

Significance: notreally the same message as seen before… rather depicts Gauls as the enemy (muchlike Persians were enemies for the Athenians). Giants have snake legs, suggests they are from the earth (Gaia). Shows importanceof erudition in that all gods and giants were distinctly labelled. Also giants now show Hellenistic emotion (pain, scowls, etc.)

Material: marble sculpture

Location/Style: Pergamon, Hellenistic

Date: ca. 180 (Early 2nd-century)

Significance: not really the same message as seen before… rather depicts Gauls as the enemy (much like Persians were enemies for the Athenians). Giants have snake legs, suggests they are from the earth (Gaia). Shows importance of erudition in that all gods and giants were distinctly labelled. Also giants now show Hellenistic emotion (pain, scowls, etc.)

Material: marble sculpture

Location/Style: Samothrace, Hellenistic

Date: ca.225-125 (2nd-century)

Significance: One of the most iconic Greek statues. Represents the 'baroque' version of a Nike; rather than standing still, she is twisting and in motion. Similarly, rather than the 'wet drapery' look, her clothes cling to her in movement. It was located near the theatre of the city, so draws on baroque-ness. Thought to be a visual representation of patronage to the ruler of the city for victory in battle.

Material: bronze sculpture

Location/Style: Delos, Hellenistic

Date: ca. 100 (Early 1st-century)

Significance: notable for its usage of wrinkles to express Hellenistic emotional concern--known also as the "worried man" for his quivered brow. This extent of using hyper-realism was used to create what was called a "psychological portrait" as you could almost feel his emotional stress.

Material: bronze sculpture

Location/Style: Rome, Hellenistic

Date: 1st-century BC (ca. 50)

Significance: one of the most famous of all Hellenistic statues for its use of baroque theatre style (very emotional expression, heavy gashes on the face. Facial expression displays palpable emotion of pain

Material: marble sculpture

Location/Style: Delos, Hellenistic

Date: ca. 100 (Early 1st-century)

Significance: A humorous statue showing Aphrodite batting away advances from Pan. It is unclear who Cupid is helping, adding to the playfulness of the piece. It has been said to mirror the exact pose of Aphrodite of Knidos, perhaps mocking it? It comes from a 'clubhouse' of men from Beirut, which highlights the cosmopolitanism of the Hellenistic art style.

Material: bronze sculpture

Location/Style: N/A location, Hellenistic

Date: 3rd-century to 1st-century

Significance: a more realistic depiction of an infant ('pudgy baby'), signifies when children begin to actually get depicted realistically. Thought to be 'dramatic' in that he is innocent now but has mischievous/dangerous potential if awoken.