ANCIENT GREECE PART 3 LATE CLASSICAL AND HELLENISTIC ART EUGENIA LANGAN MATER ACADEMY CHARTER HIGH...

ANCIENT GREECE PART 3

LATE CLASSICAL AND HELLENISTIC ART

EUGENIA LANGANMATER ACADEMY CHARTER HIGH SCHOOLHIALEAH GARDENS, FLORIDA

LATE CLASSICAL ART

404 – 323 B.C.E

PELOPPONESIAN WAR 431- 404 B.C.E. – DEFEAT OF ATHENS

CONQUEST BY PHILIP II OF MACEDON 338 B.C.E.

DEATH OF ALEXANDER THE GREAT 323 B.C.E. -30 B.C.E. HELLENISTIC PERIOD (DIVISION OF HIS EMPIRE AMONG HIS GENERALS AND THEIR SUCCESSORS)

146 B.C.E.: ROMAN CONQUEST OF GREECE, ENDS HELLENISTIC ERA IN EUROPE

30 C.E.: JULIUS CAESAR’S CONQUEST OF EGYPT ENDED LAST HELLENSTIC GOVERNMENT

RECALL – WE’VE SEEN HELLENISTIC ART IN OTHER PLACES AND WILL SEE MORE LATER.

CONTEXT:CIVILIZATIONS IN CRISIS AND DECLINE OFTEN PRODUCE GREAT PHILOSOPHIES, RELIGIONS, ART!

CONTEXT: ART OFTEN REFLECTS EMOTIONAL TENSIONS OF ITS ERA

REMEMBER SENURET III, FROM EGYPT, MIDDLE KINGDOM,12TH DYNASTY © 1860 B.C.E.

INDEPENDENT SCULPTURE

PRAXITELES

APHRODITE OF KNIDOS

© 350-340 B.C.E., ROMAN MARBLE COPY AFTER ATHENIAN ORIGINAL. (ALSO MARBLE), 6’ 8” HIGH. VATICAN MUSEUM

WHAT’S NEW?

SHE’S NUDE!FIRST KNOWN FEMALE MONUMENTAL NUDE

ALSO MORE “HUMAN” GODDESS

SENSATION IN THE ANCIENT WORLD – ONE OF THE MOST COPIED STATUES OF ANCIENT TIMES

THIS COPY, “THE COLONNA VENUS” IS JUDGED TO BE VERY ACCURATE COPY

COLONNA VENUS AS SHE WAS DISPLAYED AT VATICAN MUSEUM UNTIL 1932 – WITH ADDED DRAPING FOR “MODESTY”

“THE KAUFMAN HEAD” – SUPPOSEDLY ACCURATE MODEL OF HEAD OF CNIDIAN VENUS. LOUVRE

PRAXITELES(?), HERMES AND THE INFANT DIONYSOS, FROM THE TEMPLE OF HERA, OLYMPIA. COPY OF A STATUE BY PRAXITELES OF © 340 BCE OR ORIGINAL WORK OF © 330–270 BCE BY A SON OR GRANDSON. MARBLE, 7’ 1” HIGH. ARCHAEOLOGICAL MUSEUM, OLYMPIA

NEW?EXTREME CONTRAPPOSTO -S-CURVEADULT – INFANT INTERACTION

GRAVE STELE OF A YOUNG HUNTER © 340–330 B.C.E. FOUND NEAR ILISSOS RIVER, ATHENS. MARBLE, 5’ 6” HIGH. NATIONAL ARCHAEOLOGICAL MUSEUM, ATHENS.

INFLUENCE OF?

SKOPAS OF PAROSKNOWN FOR?

INTENSE EMOTIONALISM

LYSIPPOS, APOXYOMENOS (SCRAPER) © 330 B.C.E.ROMAN MARBLE COPY OF BRONZE ORIGINAL 6’ 9 " HIGH.

VATICAN MUSEUM

WHAT’S NEW?

NEW PROPORTIONS: HEAD ≈ 1/8 OF HEIGHT – LESS INTEREST OR LESS CONFIDENCE IN HUMAN PERFECTION ?

HE’S “OUT OF THE BOX”

BREAK FROM FRONTAL VIEW: STATUE DESIGNED TO BE VIEWED FROM ALL SIDES

LYSIPPOS, WEARY HERAKLES (FARNESE HERAKLES). ROMAN MARBLE COPY BY GLYKON OF ATHENS, OF A BRONZE ORIGINAL © 320 BCE. 10’5” HIGH. MUSEO ARCHEOLOGICO NAZIONALE,NAPLES.

THIS STATUE ORIGINALLY WAS LEANING ON HIS CLUB (IRONY, DEPICTION OF WEARINESS)

STATUE NOT UNDERSTANDABLE UNLESS VIEWED FROM ALL SIDES (SEE NEXT SLIDE)

1592 SKETCH BY HENDRICK GOLTZIUS OF REAR OF FARNESE HERAKLES - HE HOLD APPLES OF HESPERIDES BEHIND HIS BACK

DETAIL: FACE OF FARNESE HERAKLES

HEAD OF ALEXANDER THE GREAT, FROM PELLA, GREECE, 3rd CENTURY B.C.E. MARBLE, 1’ HIGH. ARCHAEOLOGICAL MUSEUM, PELLA.

IN STYLE OF, OR POSSIBLY BY, LYSIPPOS (ALEXANDER’S OFFICIAL PORTRAITIST) SO POSSIBLY ACCURATE PORTRAIT

MOSAIC AND PAINTING

GNOSIS, STAG HUNT, FROM PELLA, GREECE © 300 B.C.E. PEBBLE MOSAIC, FIGURAL PANEL 10’ 2” HIGH. ARCHAEOLOGICAL MUSEUM, PELLA

FUNCTION?

FLOOR

WHAT’S NEW?

MODELINGSKIOGRAPHIA

WHAT’S PEBBLE MOSAIC?RIVER STONES SET IN CEMENT W/ LEAD OR CLAY OUTLINES

HADES ABDUCTING PERSEPHONE, DETAIL OF WALL PAINTING FROM TOMB 1, VERGINA, GREECE, MID-FOURTH CENTURY BCE, 3’ 3 ½ ”

WHAT’S SIGNIFICANT?MODELING, FORESHORTENING,“HUMAN” DRAMA

PHILOXENES OF ERETRIA, BATTLE OF ISSUS, EMBLEMA FROM THE HOUSE OF THE FAUN, POMPEI, ITALY © 310 B.C.E. TESSERA MOSAIC 8’ 10" X 16’ 9”. NATIONAL ARCHAEOLOGICAL MUSEUM, NAPLES

FORESHORTENING, MODELING, LIGHT, DRAMA

DETAIL, BATTLE OF ISSUS

TESSERA MOSAIC

MOSAIC MADE FROM TESSERAE = TILES

IN ANCIENT ERA, TESSERAE WERE CUBICAL AND MADE FROM STONE

DETAIL, BATTLE OF ISSUS

ARCHITECTURE

POLYKLEITOS THE YOUNGER, CAVA (THEATER), EPIDAUROS, GREECE © 350 B.C.E.

CUNEI

THEATRON

SKENE

THEODOROS OF PHOKAIA, THOLOS, DELPHI, GREECE, © 375 B.C.E. INTERNAL COLUMNS WERE CORINTHIAN

POLYKLEITOS THE YOUNGER, CORINTHIAN CAPITAL FROM EPIDAURUS THOLOS © 350 B.C.E. EPIDAURUS ARCHAEOLOGICAL MUSEUM

CHORAGIC MONUMENT OF LYSIKRATES, ATHENS 334 B.C.E. MARBLE.

EARIEST EXTANT EXAMPLE OF EXTERIOR CORINTHIAN CAPITALS

THEY ARE ON?

PILASTERS

DORIC ORDER IONIC ORDERCORINTHIAN

STYLE

WHAT PROBLEM DID CORINTHIAN STYLES SOLVE?

ASYMMETRY AT CORNERS!

HELLENISTIC GREEK ART

323 – 30 B.C.E.

EXAMPLES: HELLENISM IN AFGHANISTAN (BACTRIA)

TOP, CORINTHIAN BUDDHA CAPITAL (4TH C.) RIGHT, BUDDHA (7TH C.)OUTSIDE OF GREEK WORLD, HELLENISM = CULTURAL SYNCHRETISM GREEK/ OTHER CULTURES

HELLENISTIC GREEK ARCHITECTURE

PAIONIOS OF EPHESOS AND DAPHNIS OF MILETOS, TEMPLE OF APOLLO, DIDYMA, TURKEY, BEGUN 313 B.C.E. (AERIAL VIEW)

WHAT’S THE SAME AS CLASSICAL?

COLUMNS: 10:21 – X = 2Y + 1

WHAT’S DIFFERENT?DIPTERAL (DOUBLE PERIPTERAL COLONNADE)

HYPAETHAL – NO ROOF (EX. ON INNER TEMPLE)

ATTENTION TO INTERIOR

PLAN OF TEMPLE OF APOLLO, DIDYMA

RESTORED VIEW OF THE CITY OF PRIENE, TURKEY, FOURTH CENTURY BCE AND LATER (JOHN BURGE). WHOSE INFLUENCE?HIPPODAMUS OF MILETOS – THIS ORTHOGANAL PLAN IS CALLED “HIPPODAMIAN”

RECONSTRUCTED STOA OF ATTALOS II, AGORA, ATHENS © 150 B.C.E.AGORA =OPEN SPACE = MARKETPLACESTOA = COVERED COLONNADE = PORTICOTODAY’S EQUIVALENT?SHOPPING MALL

RECONSTRUCTED STOA OF ATTALOS II

RECONSTRUCTED WEST FRONT OF THE ALTAR OF ZEUS, PERGAMON, TURKEY, ORIGINAL © 175 B.C.E. STAATLICHE MUSEEN, BERLIN

ATHENA BATTLING ALKYONEOS, DETAIL OF THE GIGANTOMACHY FRIEZE, FROM THE ALTAR OF ZEUS, PERGAMON, TURKEY © 175 B.C.E. MARBLE, 7’ 6” HIGH“PERGAMENE BAROQUE” DRAMA/ DIAGONALS, INTENSE EMOTION

DETAIL OF GIGANTOMACHY FRIEZE, PERGAMMON ALTAR

INDEPENDENT SCULPTURE

POLYEUKTOS, DEMOSTHENES. ROMAN MARBLE COPY OF A BRONZE ORIGINAL OF © 280 BCE. 6’ 7 1/2” HIGH. NY CARLSBERG GLYPTOTEK, COPENHAGEN.

WHAT’S NEW?

INDIVIDUALIZED, NON-HEROIC PORTRAITURE – SHOWS AGE

THE DYING GAULS FROM PERGAMON

EPIGONOS(?), GALLIC CHIEFTAIN KILLING HIMSELF AND HIS WIFE. ROMAN MARBLE COPY OF A BRONZE ORIGINAL OF © 230–220 BCE, 6’ 11” HIGH. MUSEO NAZIONALE ROMANO–PALAZZO ALTEMPS, ROME.

IN WHICH SCULPTOR’S TRADITION?LYSIPPOS – SCULPTURE OUT OF BOX AND MUST BE VIEWED FROM ALL SIDES

EPIGONOS(?), DYING GAUL (TRUMPETER?). ROMAN MARBLE COPY OF A BRONZE ORIGINAL OF © 230–220 BCE, 3’ 1/2” HIGH. MUSEO CAPITOLINO, ROME.

WHAT IS THE MESSAGE OF THE DYING GAUL SCULPTURES?

“DEATH BEFORE DISHONOR”

“MAN UP!”

“WE MUST BE VERY MIGHTY TO HAVE BEATEN THESE GUYS!”

NIKE OF SAMOTHRACE (NIKE ALIGHTING ON A WARSHIP), FROM SAMOTHRACE, GREECE © 190 B.C.E. MARBLE, FIGURE 8’ 1” HIGH. LOUVRE, PARIS.

WHERE WAS SHE?

IN A FOUNTAIN

NIKE OF SAMOTHRACE

(VENUS DE MILO) ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, APHRODITE FROM MELOS, GREECE © 150-125 B.C.E.MARBLE, 6’7” HIGH

WHAT’S NEW?

OVERT SEXUALITY!

“THERE IS A MYSTERY IN WHAT’S HIDDEN.” RICHARD M. NIXON

VENUS DE MILO

APHRODITE, EROS AND PAN FROM DELOS, GREECE © 100 B.C.E. MARBLE, 52” HIGH. NATIONAL MUSEUM, ATHENS

BARBERINI FAUN (SLEEPING SATYR), FOUND IN ROME, RESTORED BY BERNINI © 230-200 B.C.E. MARBLE 7’ 1” HIGH. GLYPTOTHEK, MUNICH

WHAT’S REMARKABLE?

EROTICISM

HE’S “SLEEPING” (PASSED OUT)

NOTE HELLENISTIC INTEREST IN SLEEP, DREAMS – DUALISM

SEATED BOXER, FOUND IN ROME, ITALY, © 100–50 B.C.E. BRONZE, 4’ 2” HIGH. MUSEO NAZIONALE ROMANO.

NOTE: LOSER, NOT WINNERBROKEN NOSE, CAULIFLOWER EAR, BATTERED HANDS

ANTI-HEROIC -- ANTITHESIS OF CLASSICISM

OLD MARKET WOMAN © 150-100 B.C.E.MARBLE, 4’ ½” HIGH. MET.

ONE OF MANY LATE HELLENISTIC STATUES OF OLD PEOPLE, INCLUDING OLD PEOPLE IN LOW SOCIAL CLASSES

ATHANADOROS, HAGESANDROS, AND POLYDOROS OF RHODES, LAOCOÖN AND HIS SONS, FROM ROME, EARLT 1ST CENTURY C.E. MARBLE, 7’10” HIGH. VATICAN MUSEUM

DETAIL OF THE LAOCOÖN

ATHANADOROS, HAGESANDROS, AND POLYDOROS OF RHODES, HEAD OF ODYSSEUS, FROM SPERLONGA, ITALY, EARLY FIRST CENTURY CE. MARBLE, 2’ 1 1/4” HIGH. MUSEO ARCHEOLOGICO, SPERLONGA.