Transcript Greece, Anon. Kore, painted marble c.530 B.C. Acropolis Museum

Greek, Athenian
Statue of a Kouros, 615-600 B.C.E. marble, H. 6’4’’, Metropolitan Mus. Of Art
Greece Anon. Kore,
painted marble c.530 B.C. Acropolis Museum
Greece, Anon.
Calf Bearer, marble, 65’’ h. c.570 B.C. Acropolis Museum
The Kritios Boy. It is attributed to the sculptor Kritios and dates to 480 B.C. c.
Marble. The Acropolis Museum, Athens Greece
Greek, 5th cent. B.C.
Acropolis, Athens, Greece
Greek, 5th cent. B.C.
Acropolis, Athens,
Greece
Iktinos & Kallikrates (A) Gr.
Parthenon (from S.W.), 447-438 B.C., Athens, Greece
Parthenon , Athens, Greece 5th b.c.e.
Parthenon marbles
A source of friction between Great
Britain and Greece are the marbles of
the Parthenon. They were removed in
the 19th century by Lord Elgin. The
dispute has gone on since Greece won
its independence. The Greeks deny
British claims that Elgin had the right to
remove the statues.
Lord Elgin
The Erectheion was a temple dedicated to Athena contest Victory over Poseidon. Athena and Poseidon had contest to decide
which deity would be the patron god of the city of Athens. Poseidon struck hi strident upon the ground and made a sprout of
water appear. Athena took Poseidon water and caused an olive tree to grow. The olive tree was considered the greatest gift
and so Athena was chosen to be the goddess of the city.
The temple uses the ionic column order, known for the scroll like design on the capital. Ionic was a slender graceful column.
The Erectherion columns are 18 feet in height. The building housed a wooden image of Athena and offerings. The structure is
a split level design with portions ten feet higher for the back rooms.
Athens, Erechtheion (421-405 B.C.) E.facade & S. flank
This room is at a higher elevation than front. The columns here are 12 feet in height and smaller in diameter
than front columns. Notice that the stone is not carved on the inside. The interior of Greek building were less
important than exterior. Porch of maidens is visible as well. The building was damaged during the Greek war for
independence from 1821 – 1833.
Athens, Erechtheion (421-405 B.C.). Porch of Maidens
The six maidens are attendants to Athena. They are clothed in traditional dress called a peplos. The
headdresses become supports for the roof. statues.
Polykleitos Doryphoros (marble)
ca.450 B.C. Roman copy. Bologna, Museo Civico
Versions of the Doryphoros
Polykeltios statue was very popular during the fifth century and with the later Romans.
Praxiteles Aphrodite of Knidos, (marble) Roman copy. Rome, Vatican Mus.
Though the bronze original is
lost, it was famed in its day.
Poets wrote poems about its
beauty. The Aphrodite of Knidos
was the first female semi – nude
of the classical period. It would
start the “Venus Tradition” in
European art . The staute stand
sin contrapposto with the body
weight upon the right leg. The “s”
axis of the figure is pronounced
with the right shoulder dipping to
the right. The Aphrodite ‘s left
hand reaches for the top portion
of her clothing as the right holds
the lower portion to he hips.
Later roman copies would omit
the lower clothing. The face uses
the same formula as other Greek
classical statues, though the chin
is more rounded and hair looser
since it is a woman.
Myron (S) Greek
Discus Thrower, marble (Roman copy) c.450 B.C. Natl. Archeological. Musuem
Rome
Hellenistic, 2nd Century B.C.
Nike of Samonthrace, c.190 B.C., Marble, h.96’’, Louvre Museum
Dying Trumpeter
Anon., Greek
(from. Pergamon), c.230-220 B.C.E. marble copy of bronze orig.,
lifesize, Museo Capitolino, Rome
Venus of Milo (marb.) ca. 150 B.C., Paris, Louvre
The Venus De Milo is named for
the island of Melos where it was
recovered. This reflects Roman
tastes as it has a classical style
to it rather than Hellenistic. The
Romans distained the emotional
Hellenistic style and preferred to
own copies of classical works or
have Greek artists work in a
classical fashion.
What makes it Hellenistic is the
innovation in posing. The wider
contrapposto stance allows the
clothing to widen and act as a
support. It is believed that the
right arm came across the torso
and rested on the left hip
clutching the skirt to her. The left
shoulder socket is rotated up
and forward indicating that the
left arm was extended.
Greek, Laocoon and His sons, early 1st centry B.C. (?), marble, 8’ high,
Vatican Museums, Rome