Chapter Three Classical Greece and the Hellenistic Period

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Chapter Three: Classical Greece and the Hellenistic Period Culture and Values, 8 th Ed.

Chapter Three: Classical Greece and the Hellenistic Period Culture and Values, 8 th Ed. Cunningham and Reich and Fichner-Rathus

Time. Line l l l l l Late 6 th century bce democratic system

Time. Line l l l l l Late 6 th century bce democratic system of government est. in Athens 485 -410 bce Protagoras of Abdera 479 -323 bce Classical period 480 bce The Acropolis 479 bce Persian Wars end 472 The Persians by Aeschylus performed 469 -399 bce Socrates 460 bce Thucydides born 461 bce Pericles comes to power in Athens 454 bce Athens moves money from The Delian Leauge in order to fund Parthenon 449 bce The Acropolis begun by Phidias, sculptor 447 -438 bce The Parthenon built 431 - 404 B. C. E. Peloponnesian War 431 bce Greek War 428 - 347 bce Plato 424 bcew Thucydides elected General of Amhipolis 429 bce Pericles dies 421 -406 bce Erechtheum, temple, built 404 bce fall of Athens 384 -322 bce Aristotle

The Classical Ideal l Classical period (500 -323 B. C. E. ) l Contributions

The Classical Ideal l Classical period (500 -323 B. C. E. ) l Contributions of “pioneers” l Search for order and control l Value of human potential, capability

 Thucydides 460 -424 bce

Thucydides 460 -424 bce

Athens l Exemplar of human achievement – Defeat of Persians (479 B. C. E.

Athens l Exemplar of human achievement – Defeat of Persians (479 B. C. E. ) l Democratic Government – Ecclesia, boule, magistracies l Delian League – Peloponnesian War (431 - 404 B. C. E. ) l Pericles l Thucydides

3. 1 Cresilas, Pericles, 2 nd century B. C. E. Marble, 23” (58. 5

3. 1 Cresilas, Pericles, 2 nd century B. C. E. Marble, 23” (58. 5 cm) high. British Museum, London, United Kingdom

7 The Delian league of Greek city-states

7 The Delian league of Greek city-states

Pericles and the Athenian Acropolis l Pericles’ building program – Delian League funds l

Pericles and the Athenian Acropolis l Pericles’ building program – Delian League funds l Parthenon – Proportion, balance – Ideal beauty in realistic terms l Erechtheum – Porch of the Maidens (caryatids)

3. 4 Ictinus and Callicrates, The Parthenon, 447– 432 bce. Parthenon. Column height 34´

3. 4 Ictinus and Callicrates, The Parthenon, 447– 432 bce. Parthenon. Column height 34´ (10. 36 m), Acropolis, Athens, Greece. Diagram after Andrew Stewart. Contemporary photo © William Katz/Photo Researchers, Inc.

Kallikrates and Iktinos. The Parthenon, Acropolis. 447– 432 BCE.

Kallikrates and Iktinos. The Parthenon, Acropolis. 447– 432 BCE.

3. 8 The Erechtheum with the Temple of Caryatids Acropolis, Athens, Greece, 430 -406

3. 8 The Erechtheum with the Temple of Caryatids Acropolis, Athens, Greece, 430 -406 B. C. E.

16 The Parthenon in Nashville, Tennessee is a full-scale replica of the original Parthenon

16 The Parthenon in Nashville, Tennessee is a full-scale replica of the original Parthenon in Athens. It was built in 1897 as part of the Tennessee Centennial

Lapith Fighting a Centaur. c. 447– 432 BCE. Height 56”.

Lapith Fighting a Centaur. c. 447– 432 BCE. Height 56”.

20 Life-size pediment sculptures from the Parthenon in the British Museum

20 Life-size pediment sculptures from the Parthenon in the British Museum

Recreation of Pheidias’ Huge Gold and Ivory Figure.

Recreation of Pheidias’ Huge Gold and Ivory Figure.

Classical Sculpture and Vase Painting l Naturalism, realism – Myron’s Discus Thrower l New

Classical Sculpture and Vase Painting l Naturalism, realism – Myron’s Discus Thrower l New standard of human beauty – Proportion, symmetry, balance – Riace Bronzes – Polykleitos of Argos, The Canon l Focus on individual – Emotional responses – Death and mourning

 Contrapposto Humanism, rationalism, idealism “Man is the measure of all things” Dr Spivey

Contrapposto Humanism, rationalism, idealism “Man is the measure of all things” Dr Spivey on contrapposto: http: //www. youtube. com/watch? v=88 g. XWW 3 q. N 7 o 24

Spear Bearer l Copy after original bronze of circa BCE 450 -440. Total view

Spear Bearer l Copy after original bronze of circa BCE 450 -440. Total view from front center l Creator Name: Polykleitos

26 360 view of Polykleitos’ Spearbearer

26 360 view of Polykleitos’ Spearbearer

3. 12 Myron, Discobolos (Discus Thrower). Roman copy of bronze original of c. 450

3. 12 Myron, Discobolos (Discus Thrower). Roman copy of bronze original of c. 450 BCE. Marble, 5´ 1˝ (156. 5 cm) high. Museo Nazionale Romano—Palazzo Massimo alle Terme, Rome, Italy

3. 11 Warrior, c. 460 -450 bce. From the sea off Riace, Italy. Bronze

3. 11 Warrior, c. 460 -450 bce. From the sea off Riace, Italy. Bronze with glass, bone, silver, and copper inlay, 6´ 6˝ (2 m) high. Museo Archeologico Nazionale, Reggio Calabria, Italy//© Scala/Art Resource, NY

30 Doryphorus (Spear Bearer) of Polykleitos. Roman copy after the original bronze of c.

30 Doryphorus (Spear Bearer) of Polykleitos. Roman copy after the original bronze of c. 450 -440 BCE Polykleitos’ Canon and the Idea of Symmetria (link)

3. 14 Niobid Painter, Artemis and Apollo Slaying the Children of Niobe, ca. 450

3. 14 Niobid Painter, Artemis and Apollo Slaying the Children of Niobe, ca. 450 B. C. E. Orvieto, Italy. Athenian clay, red-figure (white highlights) calyx krater, 21 ¼” high x 22” diameter (54 x 56 cm). Musee du Louvre, Paris, France.

Great video resources for our Greek Chapter: The Parthenon, NOVA PBS: http: //www. youtube.

Great video resources for our Greek Chapter: The Parthenon, NOVA PBS: http: //www. youtube. com/watch? v=MLCW 0 z. KR 4 xk Optical Tricks of the Parthenon: http: //www. youtube. com/watch? v=vzh. A 3 yi. Eof. I&featur e=relmfu Engineering an Empire, the Greeks: http: //www. youtube. com/watch? v=Jq. GTCg. L 3 tcw 32

à Resources for Art History Met’s Timeline of Art History http: //www. metmuseum. org/toah/

à Resources for Art History Met’s Timeline of Art History http: //www. metmuseum. org/toah/ UMich Mother of All Art History Links http: //www. umich. edu/~motherha/ Smarthistory http: //smarthistory. org/ Real/Virtual at Columbia University http: //www. learn. columbia. edu/ha/html/ancient. html Google Art Project http: //www. googleartproject. com/ Engineering an Empire – History Channel Series http: //www. history. com/search? searchfield=Engineering+an+Empire&auto-search=true

Philosophy in the Late Classical Period l Protagoras – Sophists l Socrates – Fate

Philosophy in the Late Classical Period l Protagoras – Sophists l Socrates – Fate of the individual – Questioning traditional values – The Socratic problem

Philosophy in the Late Classical Period l Plato – Disciple of Socrates • Apology,

Philosophy in the Late Classical Period l Plato – Disciple of Socrates • Apology, Crito, Phaedo – The Academy – Political theory / ideal society • Theory of Forms • Inspired by chaos of 4 th c. Greek politics

Philosophy in the Late Classical Period l Aristotle – Pupil of Plato – The

Philosophy in the Late Classical Period l Aristotle – Pupil of Plato – The Lyceum – Platonist vs. Aristotelian – Metaphysics, Nicomachean Ethics, Rhetoric, Poetics – “Master of those who know. ”

Music in the Classical Period l Popularity of instrumental music l Doctrine of Ethos

Music in the Classical Period l Popularity of instrumental music l Doctrine of Ethos – Plato – Aristotle l Pythagorean principals – Octaves, fourths, tetrachords, modes l Rhythmic instrumentation l Musical notation

Drama Festivals of Dionysus l Theater = religious ritual l 3 Tragedies + Satyr

Drama Festivals of Dionysus l Theater = religious ritual l 3 Tragedies + Satyr Play – Plots – Actors and props – Function of Chorus l Athenian Tragic Dramatists – Aeschylus – Sophocles – Euripides

3. 17 Polyclitus the Younger, Theater of Epidaurus, Greece, ca. 350 B. C. E.

3. 17 Polyclitus the Younger, Theater of Epidaurus, Greece, ca. 350 B. C. E. Photography by Raymond V. Schoder S. J. , c. 1999 Bolchazy. Carducci Publishers, Inc.

Performance of Greek Tragedy l Held as part of religious celebrations in particular, those

Performance of Greek Tragedy l Held as part of religious celebrations in particular, those to the god Dionysus l Performed outside in amphitheaters l Audience would watch 5 plays a day l Written at the prompting of the government and were held as competitions—the winner was given a crown of ivy l The performers were male Athenian citizens. l Usually only 3 actors in one play who would perform several different roles. l The Poet would also perform in his play. l Actors wore masks and ceremonial robes.

Characteristics l 2 parts: chorus sung in lyric meters with music and dialogue between

Characteristics l 2 parts: chorus sung in lyric meters with music and dialogue between characters l In general the chorus plays the part of spectators of the action, humble in rank, taking a limited part in but rarely initiating action, sympathizing with one or other of the chief characters, and commenting on or interpreting the dramatic situation. (typically 15 members of chorus) dance and singing

Structure 1. Prologue-before the chorus, establishes the subject and situation 2. Parodos-chorus enters singing

Structure 1. Prologue-before the chorus, establishes the subject and situation 2. Parodos-chorus enters singing 3. Episodes-scenes with 2 or more actors and the chorus 4. Stasima-chorus songs between episodes 5. Exodos-final episode

Origins of Tragedy l Earliest record in 5 th century b. c. from Athens

Origins of Tragedy l Earliest record in 5 th century b. c. from Athens l Thought to develop from earlier Greek choral performances l The Greek word for actor translates to “answerer; ” thus it is thought that actors began by answering questions the chorus asked l Stories from Greek tragedy were almost always from mythology and were well know in their time.

Tragedy l tragedy (i. e. tragic drama), from Greek trag idia, ‘goat song’. There

Tragedy l tragedy (i. e. tragic drama), from Greek trag idia, ‘goat song’. There is no satisfactory explanation of this name. It may have arisen because, it has been suggested, the chorus in tragedy originally wore goat-skins, or in connection with a goatsacrifice, or even because there was a competition with a goat as prize. l (Tragedy is, as old books inform us, a kind of story concerning someone who has enjoyed great prosperity but has fallen from his high position into misfortune and ends in wretchedness. Tragedies are commonly written in verse with six feet, called hexameters. )

Sophocles l 496 -406 b. c. l 7 surviving plays l Known for complex

Sophocles l 496 -406 b. c. l 7 surviving plays l Known for complex plot and characters l Typically explores the relationship between people and the gods. l Won numerous dramatic competitions l Was a citizen and welleducated

Sophocles (496 -406 B. C. E. ) l Friend of Pericles l Consequences of

Sophocles (496 -406 B. C. E. ) l Friend of Pericles l Consequences of human error l Most traditionally religious in theme l Antigone, Oedipus the King

Oedipus l Part of a trilogy: Oedipus Tyrannus, Oedipus at Colonus, and Antigone. l

Oedipus l Part of a trilogy: Oedipus Tyrannus, Oedipus at Colonus, and Antigone. l Name actually translates to “swollen foot” l Oedipus is King of Thebes, husband of Jocasta l Story was told by Homer in The Odyssey and Iliad l Also a play by Aeschylus and Eruipides l Declared by Aristotle who literally wrote the book on Greek drama the greatest tragedy

Characters l Oedipus-strong ruler, decisive, man of action, but rash, confident but proud, l

Characters l Oedipus-strong ruler, decisive, man of action, but rash, confident but proud, l Creon-voice of reason, stable, is sent by Oedipus to the Oracle so trustworthy, but quick to banish Oedipus at the end l The Chorus-voice of status quo, has the last word l Jocasta-wife of Oedipus, wife of Laius, mother of Oedipus l Prophet-

Aeschylus (525 -456 B. C. E. ) l Optimistic philosophy / themes l Orestia

Aeschylus (525 -456 B. C. E. ) l Optimistic philosophy / themes l Orestia Trilogy (458 B. C. E. ) – Agamemnon, The Libation Bearers, The Eumenides – Growth of civilization through reason and order

Euripides (484 -406 B. C. E. ) l Realistic, rational – Social, political, religious

Euripides (484 -406 B. C. E. ) l Realistic, rational – Social, political, religious injustice – Concern for psychological truth l Suppliant Women, Helen, Iphigenia in Taurus, Bacchae

Aristophanes (450 -385 B. C. E. ) l Athenian comic poet l Political satire

Aristophanes (450 -385 B. C. E. ) l Athenian comic poet l Political satire + fantasy – The Birds – Lysistrata

Late Classical Sculpture l Realism and emotion – Fate of the individual (Plato) l

Late Classical Sculpture l Realism and emotion – Fate of the individual (Plato) l Praxiteles – Female body = object of beauty l Lysippus – Portraiture, scale

 3. 20 Lysippus, Apoxyomenos ( Scraper), Roman copy of a bronze statue of

3. 20 Lysippus, Apoxyomenos ( Scraper), Roman copy of a bronze statue of ca. 330 B. C. E. Marble, 80 ¾” (205 cm) high. Musei Vaticani, Vatican City State, Italy.

3. 22 Theodoros of Phokaia, the Tholos of the Sanctuary of Athena Pronaia, c.

3. 22 Theodoros of Phokaia, the Tholos of the Sanctuary of Athena Pronaia, c. 375 bce. Marble and limestone, diameter of cella 28´ 25⁄8˝ (8. 6 m). Delphi, Greece

The Hellenistic Period l Division of Macedonian Empire – Syria, Egypt, Pergamum, Macedonia –

The Hellenistic Period l Division of Macedonian Empire – Syria, Egypt, Pergamum, Macedonia – Spread of Greek influence l Artistic freedom vs. Classical order l New patrons = new artistic roles l Altar of Zeus at Pergamum – Laocoön l Return to Classic principles

3. 26 Athenadorus, Agesander, and Polydorus of Rhodes, Laocoon and His Sons, early first

3. 26 Athenadorus, Agesander, and Polydorus of Rhodes, Laocoon and His Sons, early first century ce. Roman copy, marble, 82 ¾” (210 cm) high. Musei Vaticani, Vatican City State, Italy.

Chapter Three: Discussion Questions l In what ways can the manifestation of chaos, confusion,

Chapter Three: Discussion Questions l In what ways can the manifestation of chaos, confusion, and uncertainty be seen in art from the Classical and/or Hellenistic periods? Explain, citing specific examples. l What is the “Classical Ideal”? In what works is this ideal best illustrated? Explain. l Compare the Acropolis with the buildings at Pergamum. How does each entity symbolize the cultural attitudes of its time and locale? Explain. l What role did drama and music play in the lives of the Greeks? How were the two forms interrelated?