Chapter 5 Flashcards (Part 1)

8/12/2019 Chapter 5 Flashcards (Part 1)

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Chapter 5: Ancient Greek Art Context Card

Man is the measure of all things Protagoras

Search for ideal math proportions in figure and architecture (change in how humans perceive humanfigure)

Geometric Period: 900 BCE Humans highly schematized

2D format

Straight forward depiction of a funeral

No mythological creatures presentOrientalizing Period: 700 BCE

Pace and scope of Greek trade and colonization increased in near E. and Egypt

Archaic Period: 550 BCE Representation of human figure changes

Emergence of Doric and Ionic orders of architecture Refinement of Greek vase painting and differentiate between black figure and red-figure vasesSevere: 480 BCE

Greeks defeated Persians 480 BCE

Greeks gained huge amount of prestige and power while Persians retreated to Asia

Aegean Islands and mainland formed Delian League/alliance 478 BCE which moved to Athens in454 BCE.

Pericles- leader of Athens (embellished Acropolis by abusing power and spending war money)

Sculpture in the round, similarly sized figures throughout, and unified narrative


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Mycenaean culture collapsed around 1200 BCE by 1100 BCE it was extinguished

Unknown cause but a tabled found in Pylos that described prep for a sea attack

Disintegration of Bronze Age social orderarts of reading and writing lost 400 year period called Dark Ages of Greece

8thcentury broke out of isolation and began trade (poleis took shape)

Greeks/Hellenes appear to have been product of intermingling of Aegean peoples and Indo-Euroinvaders

City-states/poleis

Dorians of N. thought to have brought an end to Mycenaeans Rule was first by kings, then nobles, then tyrants who seized personal power

Athens 2500 years ago, tyrants overthrown and democracy established

776 BCE ceremonial games at Olympia for Greek speaking states (citizens of Hellas) Became trading and colonizing people who enlarged geographic and cultural boundaries

Athens capital of Greece: rich intellectual life (Socrates, Sophocles) and physical discipline (ideal ofhumanistic education)

Marketplace-agora, covered colonnades- stoas, gyms-palaestras

Borrow ideas and conventions from Egypt and Near E.

Existence of slavery

Exclusion of women from public life


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Artist: unknownTitle: Geometric krater (Dypylon case)Date: 740 BCEMovement: GeometricLocation: Dipylon cemetery Athens, Greece

Patron:Media/Technique: ceramic 3 ft tall

Form: mixing bowlFunction: grave markerContext/Subject Matter: marked grave of Athenian man; testifies to wealth/position of deceaseds

family in comm.; bottom of great vessel open, to permit visitors to grave to pour libations in honor of

dead; surface painted w/abstract angular motifs in horizontal bands; meander/key pattern around rim;widest part of base reserved for 2 bands of humans and horse-drawn chariots rather than geometricornaments; scenes depict mourning for a man laid out on his bier and grand chariot procession in hishonor; upper band- shroud raised to reveal corpse; checkerboard-like backdrop and funerary couch hasonly 2 legs b/c no interest in suggesting depth or representing space; 2D figures; empty surface filled

w/circles and M-shaped ornaments; silhouettes constructed of triangular frontal torsos w/attached profile(single large frontal eye in center); penis growing out of thigh of deceased; mourning women tear hair out

in grief and breasts beneath armpits; below are warriors; both wheels shown; horses share common bodynegating sense of depth; reintroduction of human figure and art of storytelling revivedStyle: highly schematized; twisted perspective; foot body neck lip; primitive overlapping; narrativeregisters; specification of gender rather than anatomical accuracyInfluences: early Greek vases decorated only w/abstract motifs; similar to Standard of Ur (Sumerians)

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Artist: unknownTitle: Mantiklos ApolloDate: 700-680 BCEMovement: OrientalizingLocation: Thebes, Greece

Patron: MantiklosMedia/Technique: bronze 8

Form: statueFunction: religious (offering to the god)Context/Subject Matter: during time of increasing trade and colonization in the E.; dedicated to

Apollo; message Mantiklos dedicated me as a tithe to the far-shooting Lord of the Silver Bow; you

Phoibos might give some pleasing favor in return; unsure if it meant to represent youthful Apollo orMantiklos; left hand meant to hold a bow?; long hair frames elongated neck; pectoral and abs definetriangular torso; triangular face w/once inlaid eye sockets; head may have had separately fashioned helmetStyle: schematized; interested in reproducing details of human anatomyInfluences: Minoan pinched waists; Egyptian sculpture; votive statuettes

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Artist:

Title: Lady of AuxerreDate: 650-625 BCEMovement: OrientalizingLocation: Crete

Patron:Media/Technique: limestone 2 1.5 drawn on 4 independent sides of marble block

Form: sculptureFunction: informationalContext/Subject Matter: goddess/kore (young woman); uncertainty whether mortal or deity; wearslong skirt and cape like women of temple but no headdress and right hand placed across chest in gesture

of prayerStyle: curvature of woman but still columnar/geometric; triangular flat-topped head framed by longstrands of hair that form complementary triangles to that of the face; small belted waist and fondness forpattern; geometric treatment of long skirt w/incised concentric squares once brightly painted; Daedalicstyle (triangular head and flat face); closer to naturalism; negative spaceInfluences: Egyptian stance; larger than bronze statuettes of era; same workshop procedure used inEgypt

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Artist:

Title: Kouros/young manDate: 600 BCEMovement:ArchaicLocation: Metropolitan Museum

Patron:Media/Technique: marble 6 .5

Form: sculptureFunction: grave marker (replaced huge vases of Geometric times) and votive offeringContext/Subject Matter: Egyptian stance (left foot forward and hands in fists; stoic face; timeless;canon of proportions; life-size; free standing; liberated from original stone block; Egyptian permanence

was alien to Greeks who were preoccupied with finding ways to represent motion rather than stability;nudity; defined musclesStyle: triangular shape of head and hair and flatness of face/Daedalic style; slim waist; love of pattern;pointed arch of rib cage echoes V-shaped ridge of hips; not accurate reproduction of rounded muscle ofhuman bodyInfluences:; Mantiklos Apollo and Lady of Auxerre similaritiesDifferences: NY Kouros negative space while Menkaure does not; nude vs. clothing; more attention to

human anatomy/muscle/joints in NY Kouros

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Artist:

Title: Calf BearerDate: 560 BCEMovement:ArchaicLocation: Acropolis, Athens

Patron: RhonbosMedia/Technique: 5 5 marble

Form: sculptureFunction:votive offeringContext/Subject Matter: moschophoros/calf bearer found in fragments; bringing offering to Athena inthanksgiving for his prosperity; beard (not young guy); dressed in thin cloak rather than nude; calfs legs

and arms form X that unites two bodies physically and formally (interaction between the 2); smileindicates that the person portrayed is aliveStyle: left foot forward; attention to anatomy; noble perfection; Archaic smile diff. from Egyptian; stillnarrow slender pinched waistInfluences: similar to kouros, Archaic love of pattern

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Artist:

Title: KroisosDate: 530 BCEMovement:ArchaicLocation: National Archaeological Museum, Athens

Patron:Media/Technique: marble 6 4

Form: sculptureFunction: grave markerContext/Subject Matter:portrait of specific youth who died heroic death in battleCompared to Kouros: more naturalistic; head no longer too large for body; more rounded face; hair falls

naturally; rounded hips replace V-shaped ridgesStyle: left foot forward; more accurate depiction of human anatomy than NY Kouros; Archaic smileEncaustic: technique-eyes, lips, drapery, and hair all painted with pigmented hot waxInfluences: no longer pinched waist

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Artist:

Title: Peplos KoreDate: 530 BCEMovement:ArchaicLocation: Acropolis, Athens

Patron:Media/Technique: marble 4

Form: sculptureFunction:votive offerings in Athenas sanctuaryContext/Subject Matter: rounder cheeks; extending hand (diff. from Egyptian frontal compression);originally buried;

Compared to Lady of Auxerre: drapery conceals entire body in both but Peplos core female form morenaturalStyle: upright and rigid; column shaped; smile; encaustic paint; peplos garment; soft treatment of fleshInfluences: Lady of Auxerre; similar to Mantiklos Apollo

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Artist: Kritios?Title: Kritios BoyDate: 480 BCEMovement: SevereLocation: Acropolis Museum, Athens

Patron:Media/Technique: marble 2 10

Form: sculptureFunction: portrait?Context/Subject Matter: sculptor portrayed how human being actually stands; shift of weight onto leftleg; head turned slightly (breaking previous convention of frontality)

Compared to Archaic kouroi: breaks away from rigid and unnatural Egyptian inspired poseStyle: contrapposto/counterbalance- relaxed and natural stance (weight shifts to one leg); absence ofsmileInfluences: kouros

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Artist:

Title: Charioteer/Riace WarriorDate: 470 BCEMovement: SevereLocation: Sanctuary of Apollo, Delphi, Greece

Patron:Media/Technique: eyes made of glass paste and shaded by bronze lashes

Form: sculptureFunction: historical/informational Context/Subject Matter: commemorates victory of tyrant Polyzalos of Gela/Sicily in chariot race atDelphi

Style: archaic pose but turn of head and feet in opposite directions + twist in waist is Severe Style;depiction of moment after race; folds in garment emphasize verticality and calm of the figure recallingflutes of Greek columnInfluences: kouros

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Chapter 5 Flashcards (Part 1)