26. Athenian agora. Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan. -primarily made of stone -large part of Athens -content: stoas (place for public discourse discussions, discussion of business, and shared walkways), public offices, shops, temples, library, concert hall -function: center for the city, citizens gather for market, performances, sports, and other events -showed educational role of city and Athens' prosperity and use of democracy -themes: democracy, religion, community, prosperity -context: highly patriarchal society (only Athenian males could be citizens/participate in democracy), Pericles was successful leader of Athens and oversaw development of agora and acropolis -temple of Athena overlooks agora (Athena was patron and protector of Greece)
26. Athenian agora. Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan. -primarily made of stone -large part of Athens -content: stoas (place for public discourse discussions, discussion of business, and shared walkways), public offices, shops, temples, library, concert hall -function: center for the city, citizens gather for market, performances, sports, and other events -showed educational role of city and Athens' prosperity and use of democracy -themes: democracy, religion, community, prosperity -context: highly patriarchal society (only Athenian males could be citizens/participate in democracy), Pericles was successful leader of Athens and oversaw development of agora and acropolis -temple of Athena overlooks agora (Athena was patron and protector of Greece)
27. Anavysos Kouros. Archaic Greek. c. 530 B.C.E. Marble with remnants of paint. -ideal human body: athletic, tall, muscular -used as grave marker -honored youth died in battle -naturalistic idealism -resembles egyptian art/ka statues (Menkaure and his wife) -archaic smile -emphasizes importance of male figure, noble death, and athleticism -inscription connects to Greek religion
27. Anavysos Kouros. Archaic Greek. c. 530 B.C.E. Marble with remnants of paint. -ideal human body: athletic, tall, muscular -used as grave marker -honored youth died in battle -naturalistic idealism -resembles egyptian art/ka statues (Menkaure and his wife) -archaic smile -emphasizes importance of male figure, noble death, and athleticism -inscription connects to Greek religion
28. Peplos Kore from the Acropolis. Archaic Greek. c. 530 B.C.E. Marble, painted details. -Athens, Greece -woman (possibly Athena because of adorned dress, headdress, and bow) -function: honoring Athena (either an offering or a depiction) -raised left arm and archaic smile (shows well-being, not emotion) representative of archaic style -brightly painted with animal figures on clothing to represent fertility and prosperity -kore (young women) statues were offerings to goddesses -closely tied to Greek gods/religion
28. Peplos Kore from the Acropolis. Archaic Greek. c. 530 B.C.E. Marble, painted details. -Athens, Greece -woman (possibly Athena because of adorned dress, headdress, and bow) -function: honoring Athena (either an offering or a depiction) -raised left arm and archaic smile (shows well-being, not emotion) representative of archaic style -brightly painted with animal figures on clothing to represent fertility and prosperity -kore (young women) statues were offerings to goddesses -closely tied to Greek gods/religion
33. Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique. -one side depicts punishment of Niobe for her hubris, other side is more disputed though seems to depict Hercules (could be surrounded by gods or warriors being placed under protection) -one of the first times not using isocephalism -function: utilitarian (mix water and wine) -themes: increased organic form, figures in nature, landscape, mythology/religion -naturalism -context: Niobe boasted her fertility (14 children) to the god Leto, gods punished her by killing all her children -possibly influenced by cave paintings
33. Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique. -one side depicts punishment of Niobe for her hubris, other side is more disputed though seems to depict Hercules (could be surrounded by gods or warriors being placed under protection) -one of the first times not using isocephalism -function: utilitarian (mix water and wine) -themes: increased organic form, figures in nature, landscape, mythology/religion -naturalism -context: Niobe boasted her fertility (14 children) to the god Leto, gods punished her by killing all her children -possibly influenced by cave paintings
34. Doryphoros (Spear Bearer). Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze). -Polykleitos' treatise
34. Doryphoros (Spear Bearer). Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze). -Polykleitos' treatise "Kanon": cannon of proportions/perfect proportions/harmonic proportions (cross-balance all parts of body) -importance of ideal figure and perfect proportions -early classical -original location: Pompeii (where athletes trained) -contropposto -mascular, ideal body -Greek emphasis on athleticism and perfect human body
35. Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble. -upper city -Parthenon -the Plaque of the Ergastines (presenting peplos to Athena) -Helios, Horses, and Dionysus (birth of Athena from the head of zeus, inside pediment of temple of Athena Nike, also called Elgian Marbles) -Temple of Athena Nike -Victory adjusting her sandal
35. Acropolis. Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble. -upper city -Parthenon -the Plaque of the Ergastines (presenting peplos to Athena) -Helios, Horses, and Dionysus (birth of Athena from the head of zeus, inside pediment of temple of Athena Nike, also called Elgian Marbles) -Temple of Athena Nike -Victory adjusting her sandal
36. Grave stele of Hegeso. Attributed to Kallimachos. c. 410 B.C.E. Marble and paint. -Athens, Greece -High Classical -relief carving -servant/slave girl holds out box to older/more mature woman on a klismos (chair) with feet elevated, older woman holds up necklace -made to adorn the grave of Hegeso -shows Hegeso's status and power (hierarchy of scale, necklace, and servant with poorer dress), shown positively to celebrate life after death -themes: contrast between classes, respect of the dead -hyper-realistic, emotionless faces, motionless bodies, daily life (typical of high classical art) -context: women secluded to home, extremely wealthy father (mentioned in epitaph), patriarchal society
36. Grave stele of Hegeso. Attributed to Kallimachos. c. 410 B.C.E. Marble and paint. -Athens, Greece -High Classical -relief carving -servant/slave girl holds out box to older/more mature woman on a klismos (chair) with feet elevated, older woman holds up necklace -made to adorn the grave of Hegeso -shows Hegeso's status and power (hierarchy of scale, necklace, and servant with poorer dress), shown positively to celebrate life after death -themes: contrast between classes, respect of the dead -hyper-realistic, emotionless faces, motionless bodies, daily life (typical of high classical art) -context: women secluded to home, extremely wealthy father (mentioned in epitaph), patriarchal society
37. Winged Victory of Samothrace. Hellenistic Greek. c. 190 B.C.E. Marble. -aka Nike of Samothrace -Samothrace, Evros -wet drapery -built to commemorate naval victory -nike=symbol of victory -dramatic, hyper-realistic -context: build to stand in or above fountain with cascading water, hellenistic style, Greek cultural emphasis on victory/success/prosperity
37. Winged Victory of Samothrace. Hellenistic Greek. c. 190 B.C.E. Marble. -aka Nike of Samothrace -Samothrace, Evros -wet drapery -built to commemorate naval victory -nike=symbol of victory -dramatic, hyper-realistic -context: build to stand in or above fountain with cascading water, hellenistic style, Greek cultural emphasis on victory/success/prosperity
38. Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 B.C.E. Marble. -in one of the terraces of the acropolis -frieze: carved in high relief, depicted gigantomachy (war b/w gods and giants), Athena fighting giants and being crowned -ionic columns -altar w/ fire to worship zeus -function: worship/sacrifice -Greek victory over chaotic forces of nature/phenomena (metaphorical) and military victories (literal) -themes: heroism, balance, drama, excitement, victory -gods look calm and strong, contrasted with terrified and painful look on giants -context: hellenistic art very expressive and dramatic, greek mythology/origin story (gigantomachy)
38. Great Altar of Zeus and Athena at Pergamon. Asia Minor (present-day Turkey). Hellenistic Greek. c. 175 B.C.E. Marble. -in one of the terraces of the acropolis -frieze: carved in high relief, depicted gigantomachy (war b/w gods and giants), Athena fighting giants and being crowned -ionic columns -altar w/ fire to worship zeus -function: worship/sacrifice -Greek victory over chaotic forces of nature/phenomena (metaphorical) and military victories (literal) -themes: heroism, balance, drama, excitement, victory -gods look calm and strong, contrasted with terrified and painful look on giants -context: hellenistic art very expressive and dramatic, greek mythology/origin story (gigantomachy)
41. Seated boxer. Hellenistic Greek. c. 100 B.C.E. Bronze. -artist: Lyssipus of Sikyon -lost-wax technique, bronze infused with copper (gives look of blood) -defeated boxer, old, bruised, scarred, cauliflower ears -evokes compassion -defeat, heroism, emotion, drama -context: hellenistic art (dramatic, highly emotional, expressive faces, hyper-realistic), Greek cultural emphasis on athleticism and physical form
41. Seated boxer. Hellenistic Greek. c. 100 B.C.E. Bronze. -artist: Lyssipus of Sikyon -lost-wax technique, bronze infused with copper (gives look of blood) -defeated boxer, old, bruised, scarred, cauliflower ears -evokes compassion -defeat, heroism, emotion, drama -context: hellenistic art (dramatic, highly emotional, expressive faces, hyper-realistic), Greek cultural emphasis on athleticism and physical form