ancient greece part 3 late classical and hellenistic art eugenia langan mater academy charter high...
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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.