Ancient Greece The Early Classical Period Libon of

Ancient Greece The Early Classical Period Libon of Elis , Temple of Hera II Paestum, Italy ca. 460 BC • The Temple of Zeus at Olympia is considered to be the first great monument of Classical architecture, but it in ruins. This monument closely resembles it. • Six columns on the short side of the temple, two columns in antis, and two rows of columns in two stories inside the cella Just like the plan of the Temple of Aphaia at Aegina. (only more lavishly decorated) • Statues not only filled both pediments, but also the six metopes of the Doric frieze of the pronaos and the matching six of the opistodomos were adorned with relief sculpture.

Ancient Greece The Early Classical Seer, from the pediment of the Temple of Zeus Olympia, Greece, ca 470 -456 BC • The pedimental sculptures here are posed as if they were actors on stage. Oinomaos and his wife on one side, Pelops and Hippodameia on the other and their respective chariots to each side • Only one man reacts--- a seer who knows the future ( the death of Oinomaos due to the cheating by Pelops to win Hippodameia as his bride). • The steer represents a rare Classical depiction of old age which was indicative of the later Hellenistic age in Greek art.

Ancient Greece The Early Classical Period • The youth has a slight dip to the right hip, indicating the shifting of weight onto his left leg. His right leg is bent, at ease. His head turns slightly to the right. • This figure depicts how an actual human being stands, not the structured stiffness of earlier sculptures. • The sculpture was named after Kritios, the man thought to have carved this revolutionary sculpture. • This is the first indication of contrapposto in Greek statuary depicting an increasing interest in naturalism. • This concept had disappeared and then reappeared during the Renaissance, demonstrating a Kritios Boy, From the Acropolis Athens, Greece, ca. 480 BC

Ancient Greece The Early Classical Period The bronze can be cast and molded, while stone, a rigid structure, partakes its natural shape upon the stone that is produced from it. Bronze’s lightness and stability allow the perception of motion much easier than does the marble sculptures of the past. The weight shift is very pronounced, the head turns forcefully to the right, his shoulders tilt, his hips swing, and his arms are free from the body. This demonstrates the new lost wax casting method of sculpture. This statue is missing only the spear, shield and wreath that once accompanied the figure. The Riace Bronzes were discovered by accident by a diver off of the coast of Italy. They were found near the top of the “toe” of Italy’s “boot”. Warrior, from the sea off Riace, Italy, ca 465 -450 BC

Ancient Greece The Early Classical Period The Severe Style- The body is rigid and forward facing and the upper body has a very stiff prominence. The turn of the head and the feet in opposite directions as well as a slight twist at the waist. Charioteer- 1 st large scale Greek bronze sculpture- contrapposto is present despite heavy clothing, as the left foot is the engaged one. The folds of clothing are much softer than Archaic sculpture, reflecting the behavior of real cloth. The wrinkles of the cloth are recall the flutes of Greek columns. This statue commemorates the victory of the tyrant Polyzalos of Gela (Sicily) in a chariot race at Delphi. Charioteer Delphi, Greece, ca 470 BC

Ancient Greece The Early Classical Period Both arms are boldly extended and the right heel is raised off the ground. The position assumes that Zeus is hurling thunderbolt. Powerful, Strong, Bold, All-mighty This new found movement in statues could only be achieved after the invention of contrapposto Large, free-standing sculptures in motion is the greatest achievement of the Severe Style Poseidon- in the act of throwing trident (or thunderbolt if it is Zeus) Pose is athletic, a gesture rather than in mid action- a divine action Zeus from the sea off Cape Artemision Greece, ca 460 -450 BC

Ancient Greece The Classical Period Myron, Diskobolos (Discus Thrower) Roman Copy of a Bronze Original Riace, Italy, ca 465 -450 BC The profile limbs and a nearly frontal chest, like that of an arc about to swing suggest an almost Archaic manner, but the motion and detailed anatomy describe it as Classical The tension is not expressed in his face. He wears an expressionless face, and the head is turned away from the spectator suggesting a focus on the task at hand an emphasis on athletic achievement. When the original was removed from Greece, only one community or individual could own it. Demand so far exceeded the supply that a veritable industry was born to meet the Roman call for Greek statuary to display in public places and private villas alike. The copies were usually made of a less costly marble.

Ancient Greece The Classical Period Polykleitos, Doryphoros (Spear Bearer) Roman Copy of a Bronze Original Pompeii, Italy, ca 450 -440 BC This sculpture is the embodiment of Polykleitos’s vision of the ideal statue of a nude male athlete and warrior. It epitomizes the intellectual rigor of Classical statuary design. The supporting leg’s function is echoed by the straight-hanging arm to provide the figure’s right side with columnar stability needed to anchor the left side’s dramatically flexed limbs. The tense and relaxed limbs also oppose each other diagonally. The head turns to the right and the hips slightly to the left, depicting motion without movement. This sculpture gives a new animation to the body, as the Archaic smile is no longer needed and the expression is now more serious. This dynamic asymmetrical balance, this motion while at rest, and the resulting harmony of opposites are the essence of the Polyleitan style

Ancient Greece The Classical Period Iktinos and Kallikrates, Parthenon Acropolis, Greece, ca 447 -438 BC

Site plan of the Acropolis.

Ancient Greece The Classical Period The Parthenon depicts beautiful proportions. The columns are well-spaced, with slender shafts are a more refined version of the squat and bulging Doric columns. The algebraic symmetria of the parts may be expressed as x=2 y+1 where x is the larger number and y the smaller. Thus, the temple’s short ends have eight columns and the long sides have seventeen. The stylobate and the peristyle columns leaning inward slightly depict the set of specifications its unique place in the structure dictated. The stylobate’s ration of length to width is 9: 4. (9=(2 x 4)+1. This architectural achievement is equivalent to the sculptural achievement of Polykleitos’s Doryphoros. This structure demonstrates the belief that beautiful proportions resulted from strict adherence to Iktinos and Kallikrates, Parthenon Acropolis, Greece, ca 447 -438 BC

Grave Stele of Hegeso. 410 BCE. Painted marble.

Ancient Greece The Classical Period Phidias, Athena Parthenos (model of the lost statue) Acropolis, Greece, ca 447 -438 BC In the cella of the Parthenon, Acropolis, Athens, Greece Approximately 38 feet tall and created from gold and ivory The extreme size of this particular sculpture dictated the deviation from the standard six-column façade to an unusually larger eight -column façade. One can only imagine the presence that this sculpture must have had during its time. Created from the most precious of materials, this sculpture of Athena dominated the Eight column facade

Ancient Greece from the pediment of the Parthenon The Classical Period. Helios and his horses, and Dionysos (Herakles? ), Acropolis, Greece, ca 438 -432 BC In the center of the east pediment are the spectators to the left and the right who witnessed Athena’s birth on Mount Olympus. At the far left Helios and his chariot rise from the pediment floor. Dionysos or possibly Herakles, next to the chariot and horses is poised and calmly embodies the essence of classicism. The reclining figures fill the space in totally relaxed forms. The articulation and integration of the bodies produce a wonderful variation of surface and play of light and shade. To be noted here is Phidias’s new way of composing the pedimental space. Apollo and his horses move effortlessly through the horizon line as they perfectly fit the acute angle of the pediment’s corner.

Ancient Greece The Classical Period Three Goddesses (Hestia, Dione, and Aphrodite? ), Parthenon Pediment Acropolis, Greece, ca 438 -432 BC Hestia, Dione, Aphrodite and more horses are depicted here. The figures are brilliantly characterized. They reveal and conceal the main and lesser body masses while swirling in a compositional tide that subtly unifies the figures. These figures embody the Phidian “wet-drapery” look that characterizes his sculptural style.

Ancient Greece The Classical Period On the Partheon frieze the procession begins in the west , in the temple’s rear, the one first reached after emerging from the Acropolis. It then proceeds in parallel lines at the north and south of the building and ended at the center of the frieze. (bottom) They do not partake in the festival or determine its outcome; they are merely spectators. The Parthenon celebrated the greatness of Athens and the Athenians as much as it honored Athena. Details of the Panathenaic Festival Procession frieze Acropolis, Greece, ca 447 -438 BC

Ancient Greece The Classical Period This building acts as the monumental entrance to the acropolis or “high city”. Chariots and animals of the Panathenaic Festival would take their path into the acropolis by way of the two central columns of the Propylaia. To either side of the central ramped causeway were sets of stairs for the pedestrian traffic. Doric temple façade with slender Ionic columns supporting the split-level roof. Mnesikles’ full plan for the Propylaia was never executed due to a change in the fortunes of Athens after the outbreak of the Peloponnesian War in 431 BC. Only one of the two side wings of the building were completed. The completed wing of the Propylaia, during later Roman times, housed a pinakotheke, or picture gallery of paintings on panels by famous fifth century BC artists. Mnesikles, Propylaia (northeast view) Acropolis, Greece, ca 437 -432 BC

Ancient Greece The Classical Period This building honored Athena and housed the ancient wooden image of the goddess. It also incorporated many other shrines of other gods and demigods who loomed large in the city’s legendary past. Among the gods honored was Erechtheus, an early king of Athens, during whose reign the ancient wooden idol of Athena (housed in this building) was said to have fallen from the heavens. This asymmetrical plan and Ionic order is unique for Greek Temples and the antithesis to the simple and harmoniously balanced plan of the Doric Parthenon across the way. Erechtheion Acropolis, Greece, ca 421 -405 BC

Ancient Greece The Classical Period Once, a long time ago, there was a man named Cecrops, whose name means "face with a snake, " was halfman and half-snake. He was also the founder and first king of Athens started looking pretty good, and Athena and Poseidon both wanted to be the patron of it. They were on the verge of attacking each other, when the wise Athena came up with an idea about who could win the city. It was decided that whoever gave the city the best gift would earn the right to be the patron. Cecrops was the agreed upon arbitrator. Leading a huge crowd, they ascended to the Acropolis to give their gifts. Poseidon was first, and he lifted his trident and struck the earth with it. A spring shot forth and began pouring out water. The people sighed in wonder, but when they tasted it, they were not so impressed for the spring was as salty as the sea Poseidon ruled. Athena, on the other hand, merely knelt and buried something in the ground. It was an olive tree. Simple, yes, but the olive tree was also a rich gift. It gave the Athenians the olives (food), oil, and wood. Cecrops deemed Athena's the better gift. As the winner, Athena name the city after herself (Athens, of course). At the Acropolis, the citadel was named Cecropia in honor of Cecrops. This building was created on the site where this contest took place. The olive tree exists there as well as the mark of Poseidon’s trident. Erechtheion Acropolis, Greece, ca 421 -405 BC

Ancient Greece The Classical Period Contained four columns on both the east and west facades. Reference is made to the victory over the Persians. Part of its frieze is devoted to a representation of the decisive battle at Marathon that turned the tide against the Persians. The building contained many relief images of Athena in various attitudes. The most famous of these images of “Nike” depicts her adjusting her sandal. Kallikrates, Temple of Athena Nike Acropolis, Greece, ca 427 -424 BC

Ancient Greece The Classical Period Nike Adjusting her sandal, From the Temple of Athena Nike Acropolis, Greece, ca 410 BC Created by an anonymous master sculptor who carried style as the relief sculpture of the Parthenon even further. The figure’s garments cling so tightly to the body that they seem almost transparent , as if drenched with water. This style is very similar to that of the Phidias who was known for the “wet-drapery” look of his sculptures.

Ancient Greece The Classical Period Achilles Painter, Warrior taking leave of his wife Eretria, Greece, ca 440 BC This lekythos was a flask that once contained perfumes and oils. This polychrome vessel was said to have been decorated by the Achilles Painter about 440 BC. To be noted is the white-ground technique which takes its name from the chalky-white slip used to provide a background for the painted figures. This method became popular during the fifth century BC. Many of the colors were added after the firing because the Greeks did not know how to make them withstand the kiln’s heat. This new technique was explored almost exclusively on the lekythoi, which were commonly placed in Greek graves as offerings to the deceased. This particular vessel depicts a man leaving his wife for a battle from which he will not return.

Ancient Greece The Classical Period Niobid Painter, Artemis and Apollo slaying the children of Niobe Orvieto, Italy, ca 450 BC The painter was given this modern nickname because of this particular vessel. His works were unsigned, so the nickname “Niobid Painter” was bestowed upon him because of the content of his imagery. Niobe, who had at least a dozen children, had boasted that she was superior to the goddess Leto who had only two offspring, Apollo and Artemis. To punish Niobe’s hubris (arrogance), and teach the lesson that no mortal could be superior to a god or goddess, Leto sent her two children to slay all of Niobe’s children. Style to be noted: The painter depicts figures faces in the three quarter pose. Not even Euthymides had attempted this. The painter also depicts a figure that is partially hidden by a rock that he is falling upon.

Ancient Greece The Classical Period Phiale Painter, Hermes bringing the infant Dionysos to Papposilenos Vulci, Italy, ca 440 -435 BC This vessel depicts Hermes handing over his half brother , the infant Dionysos, to Papposilenos (“grandpasaytr”). The rest of the image represents nymphs in the shady glens of Nysa, where Zeus had sent Dionysos, one of his numerous natural sons, to be raised, safe from the possible wrath of his wife Hera. This white-ground painter used only colors that would survive the heat of the kiln (unlike the Achiles Painter’s lekythos)

Ancient Greece The Late Classical Period Praxitiles, Aphrodite of Knidos, Roman copy of an original ca 350 -340 BC Political upheaval and artistic change describe the Late Classical Period. The Peloponnesian War, which began in 431 BC, ended in 404 BC with the complete defeat of plagueweakened Athens and left Greece drained of its strength. The Peloponnesian War brought an end to the 5 th century BC serene idealism. Greek thought and art began to focus more on the individual and to the real world appearances rather than the community and ideal world of perfect beings and perfect buildings. This sculpture was one of the most revered in Greek history. Many traveled from around the world to see it. Female nudity was extremely rare in Greek art, and even more rare is a depiction of a goddess in such a manner. (compare to Onesimos)

Ancient Greece (Roman Copy of an Original) The Late Classical Period Praxitiles, Hermes and the infant Dionysos Olympia, Greece, ca 340 BC This was once thought to have been created by the master Praxitiles, but is now generally considered a copy of the highest quality. The depiction here has Hermes stopping to rest on his journey to Nysa to entrust the upbringing of Dionysos to Papposilenos and the nymphs. Hermes leans on a tree trunk and his slender body forms a sinuous , shallow Scurve that is the hallmark of many of Praxitiles’ statues Here Hermes looks off dreamily into space while he dangles a bunch of grapes as a temptation for the infant who is to become the Greek god of the vine Soft, subtle, and sensual are all descriptive of a Paxitelean original. The order of beauty seen here appeals more to the eye than to the mind and replaced the majestic strength and rationalizing designs of the 5 th century BC

Ancient Greece The Late Classical Period. Lysippos, Apoxyomenos (The Scraper) Roman copy after a bronze original ca 330 BC Lysippos- another great name in 4 th century BC sculpture was the personal sculptor for Alexander the Great. A new canon of proportion emerged with Lysippos that sought a more slender body and smaller head than that of Polykleitos. (head was one eighth the size of the entire body rather than one seventh) The “scraper” refers to the ritual of the athlete scraping the oil from his body after exercising. Compositional notes: both arms are horizontally extended, diagonal line of the free leg, unruly hair, freedom of 3 dimensional movement The position of the arms causes the viewer to view the sculpture from more angles than just the standard frontal position.

Ancient Greece The Classical Period Lysippos, Weary Herakles ( Farnese Herakles) Roman marble copy from Rome, Italy, signed by Glykon Of Athens, after a bronze original ca 320 BC This sculpture further demonstrates Lysippos’ vision that sculpture is to be viewed “in the round”. Here he depicts the great hero with the golden apples of Hesperides in his right hand behind his back -- unseen unless one walks around the statue. Instead of expressing joy, or at least satisfaction after having completed one of the twelve labors, Herakles is depicted as weary, and almost dejected. (in contrast to his previous depictions) The original was lost, but this copy (twice life-size) , was created and displayed in a bath house in Rome as inspiration for those who exercised there.

Ancient Greece The Late Classical Period The Alexander Mosaic Roman Copy Pompeii, Italy ca. 310 BC

Ancient Greece The Late Classical Period The Alexander Mosaic Roman Copy Pompeii, Italy ca. 310 BC

Ancient Greece The Late Classical Period Tesserae (tiny stones or pieces of glass cut to the desired size and shape) were used to create this masterpiece. The subject is the great battle of Alexander the Great and the Persian king Darius III, probably the battle of Issus in southeastern Turkey, when Darius fled the battlefield in his chariot in humiliating defeat. Impressive is the attention to detail and ability to depict such detail in mosaic form. Notice the reflection of the fallen warrior’s face in his highly polished shield Throughout the image, animals men, and weapons cast shadows on the ground. Philoxenos and other Classical painters’ interest in the reflection of insubstantial light on a shiny surface, and in the absence of light (shadow), was far removed from earlier painters’ preoccupation with the clear presentation of weighty figures seen against a blank background The Alexander Mosaic Roman Copy Pompeii, Italy ca. 310 BC

Temple of Athena at Delphi.