Greek 4

Greek 4 Complied by : Rani Pillai

Caryatids/ Irregular plan

Right: Nike from the Temple of Athena Nike (Victory) Below: 2 views of Temple of Athena Nike (Athenian acropolis), c. 427-424 BCE Nike/ use of drapery to define anatomy and movement of the figure

Grave stele of Hegeso (Athens), c. 400 BCE, marble depictions of the deceased role of women in Greek society hierarchical proportion

Achilles Painter. Warrior taking leave of his wife (Ereteria), c. 440 BCE, white-ground lekythos

Niobid Painter. Artemis and Apollo slaying the children of Niobe (Orvieto), c. 450 BCE, Attic red-figure calyx krater

Examples of vases include red and black figure vases from an earlier period.

Late Classical Praxiteles. Aphrodite of Knidos, Roman copy of an original of c. 350-340 BCE, marble

appearance of the female nude she alludes to modesty in her pose

increased focus on the individual hydria (3 handled water pitcher)

In the early 20th century, artists were beginning to experiment with the way the figure was modeled. Do you see any similarity between the figures? Praxiteles, Aphrodite of Knidos, c. 2nd cent.BCE Archipenko, Woman Combing, Her Hair, 1915 ca. early 20th c.

Praxiteles’ Hermes and the infant Dionysos from the Temple of Hera (Olympia), copy from an original of c. 340 BCE, marble prototype of the Good Shepherd

sinuous, shallow S curve tender human interactions What does “prototype of the Good Shepherd” insinuate?

Ron Mueck’s sculptures These are not the ideal figures you see in figurative Greek sculpture but rather a “hyperrealism” of the early 21st century. Wild Man - top Big Man - bottom

Apollo Belvedere, Roman copy of a Greek statue of the mid-fourth century BCE, marble

reaching into space a Roman copy from the 2nd century CE?

Why is the ability to sculpt a figure reaching into space so important?

Left: Lysippos. Apoxyomenos (Scraper), Roman copy after a bronze original of c. 330 BCE, marble Below: Athlete with strigil (the scraper), amphora

Grave stele of a young hunter (Ilissos River), c. 330 BCE, marble developing emotional mood is evident

Lysippos. Farnese Herakles (Weary Herakles), Roman copy of a bronze original of c. 320 BCE Alexander the Great’s favorite Sculptor attributes of Herakles rejection of stability and balance expression of dejection

Head of Alexander the Great (Pella), c. 200-150 BCE, marble

Gnosis. Stag Hunt pebble mosaic (Pella), c. 300 BCE

Philoxenos of Eretria. Battle of Issus (Pompeii), Roman copy of a Greek painting of c. 310 BCE, mosaic

tesserae/ cast shadows (skiagraphia) Philoxenes (artist) and Pliny (historian) Alexander the Great and Darius III

Polykleitos the Younger. Greek theater (Epidauros), c. 350 BCE

three days of drama orchestra theatron (stage area) open to the sky skene (scenes or sets)

Greek theater in Athens the chorus and actors wearing masks with the focus on fate (man in conflict with the gods)

Right: Choragic Monument of Lysikrates (Athens), 334 BCE

Left: Polykleitos the Younger. Corinthian capital from the tholos at Epidauros, c. 350 BCE

Paionios of Ephesos and Daphnis of Miletos. Temple of Apollo (Didyma, Turkey), begun 313 BCE

Hellenistic period Stoa of Attalos II (Athens), c. 150 BCE

Stoa/agora/colonnades of the stoa

Left: Ground floor of the Stoa of Attalos Right: Pergamene capital from the upper floor