5.4 late classical period (4 century bce)blogs.henrico.k12.va.us/ghsart/files/2013/10/... · figure...

5.4 Late Classical Period (4th century

BCE)

• Late 5th century was marked by the devastating

Peloponnesian War between Athens and Sparta

• Macedonians invade Greece and defeat the united city

states at the Battle of Chaeronea in 338 BCE.

• 4th century Greece – political turmoil

• Affected appearance of art

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Figure 5-62 PRAXITELES, Aphrodite of Knidos. Roman marble

copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei

Vaticani, Rome.

Aphodite of Knidos,

PRAXITELES

•Bold step to render a goddess

in the nude

•Sensuous and humanizing

qualities – different from the

cold, aloof gods and athletes

of the High Classical

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Figure 5-63 PRAXITELES(?), Hermes and the infant

Dionysos, from the Temple of Hera, Olympia, Greece. Copy

of a statue by Praxiteles of ca. 340 BCE or an original work of

ca. 330–270 BCE by a son or grandson. Marble, 7’ 1” high.

Archaeological Museum, Olympia

Hermes and the infant

Dionysus

•By follower of Praxiteles (son

or grandson possibly)

•Notice S-curve of the body

(pronounced contrapposto)

•New standard of adult and

child interaction- not common

in earlier works

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Figure 5-65 LYSIPPOS, Apoxyomenos (Scraper). Roman marble

copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei

Vaticani, Rome.

Apoxyomenos,

LYSIPPOS

Established a different

canon of proportions

from that of Polykleitos

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Figure 5-66 LYSIPPOS, Weary Herakles (Farnese Herakles).

Roman marble copy from Rome, Italy, signed by GLYKON OF

ATHENS, of a bronze original of ca. 320 BCE. 10 ‘ 5” high.

Museo Archeologico Nazionale,Naples.

Athena, Herakles, and Atlas, metope from the Temple of

Zeus, ca. 470 bce

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Figure 5-68 GNOSIS, Stag hunt, from Pella, Greece, ca. 300 BCE. Pebble mosaic, figural panel 10’ 2” high. Archaeological

Museum, Pella.

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Figure 5-70 PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House

of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8’ 10” X 16’ 9”. Museo

Archeologico Nazionale, Naples.

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Late Classical Architecture

• Explore the development of late classical architecture in the

Greek theater, the Corinthian capital, and the tholos.

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Figure 5-71 POLYKLEITOS THE YOUNGER, Theater, Epidauros, Greece, ca. 350 BCE.

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Figure 5-72 THEODOROS OF PHOKAIA, Tholos, Delphi, Greece, ca. 375 BCE.

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5.5 Hellenistic Period (323 – 30 BCE)

• Begins after the death of Alexander the Great (323 BCE);

lasts through the defeat of Cleopatra and Mark Anthony by

the Romans at the Battle of Actium (30 BCE)

• Relate the influence on Greek architecture as a result of the

expansion of the Greek world.

• Observe the different qualities and values of Hellenistic art

compared to the Classical period

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Figure 5-73 POLYKLEITOS THE YOUNGER, Corinthian capital, from the tholos, Epidauros, Greece, ca. 350 BCE. Archaeological Museum, Epidauros.

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Figure 5-74 Choragic Monument of Lysikrates, Athens, Greece,

334 BCE.

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Figure 5-75 PAIONIOS OF EPHESOS and DAPHNIS OF MILETOS, Temple of Apollo, Didyma, Turkey, begun 313 BCE.

Plan (left) and aerial view (right).

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Figure 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE (with the Acropolis in the background).

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Figure 5-78 Reconstructed west front of the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE. Staatliche Museen, Berlin.

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Figure 5-79 Athena battling Alkyoneos, detail of the gigantomachy frieze, from the Altar of Zeus, Pergamon, Turkey ca. 175

BCE. Marble, 7’ 6” high. Staatliche Museen, Berlin.

Compare and Contrast these two sculptures representing the same story

(Gigantomachy, Athena and Gods against the giants)

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Figure 5-80 EPIGONOS(?), Gallic chieftain killing

himself and his wife. Roman marble copy of a bronze

original of ca. 230–220 BCE, 6’ 11” high. Museo

Nazionale Romano–Palazzo Altemps, Rome.

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Figure 5-81 EPIGONOS(?), Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo

Capitolino, Rome.

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Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from

Samothrace, Greece, ca. 190 BCE. Marble, figure 8’ 1” high. Louvre,

Paris.

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Figure 5-83 ALEXANDROS OF ANTIOCH-ON-THE-MEANDER,

Aphrodite (Venus de Milo), from Melos, Greece, ca. 150–125 BCE. Marble,

6’ 7” high. Louvre, Paris.

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Figure 5-84 Sleeping satyr (Barberini

Faun), from Rome, Italy, ca. 230–200

BCE. Marble, 7’ 1” high. Glyptothek,

Munich.

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Figure 5-85 Seated boxer, from Rome, Italy,

ca. 100–50 BCE. Bronze, 4’ 2” high. Museo

Nazionale Romano–Palazzo Massimo alle

Terme, Rome.

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Figure 5-86 Old market woman, ca. 150–100 BCE.

Marble, 4’ 1/2” high. Metropolitan Museum of Art, New

York.

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Figure 5-87 POLYEUKTOS, Demosthenes. Roman marble

copy of a bronze original of ca. 280 BCE. 6’ 7 1/2” high. Ny

Carlsberg Glyptotek, Copenhagen.

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Figure 5-88 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome,

Italy, early first century CE Marble, 7’ 10 1/2” high. Musei Vaticani, Rome.

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Figure 5-89 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.

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Discussion Questions

How have funerary markers or stelae changed in

contemporary times? What do these monuments say about

our culture? Our identities?

What Greek beliefs about the human being and and the

human body are continued to this day?

How does Greek art change with the conquests of

Alexander the Great and later, being conquered by the

Persians and the Romans?

How is Greek influence reflected in contemporary art and

architecture?