chapter two: early greece - gordon state...
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Chapter Two:
The Rise of Greece
Map 2.1 Ancient Greece
History of Early Greece
The Heroic Age
Geometric Style
The Age of Colonization
Orientalizing Art
The Archaic Period
Beginnings of Greek Sculpture
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2.5 Phidias, statue of
Zeus in the Temple of
Zeus at Olympia, Greece
(imaginary
reconstruction, gouache,
c. Sian Frances), ca. 435
B.C.E.
Homer and the Heroic Age
Significance of the Polis
Religion and Mythology
Art & Literature
The Iliad and The
Odyssey
“the Homeric question”
Oral Tradition
Epithets, Elaborate Similes
Heroic Verse
Iliad
Theme of Human Responsibility
Odyssey
Return of the Epic Hero
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Painted Vases
Krater
Linear designs, the meander
Human Forms (~800 B.C.E.)
Geometric Art
Age of Colonization
Prosperity of City-States
Competition, Image
Wealth + Over-Population =
Colonization
Italy, Sicily, Egypt, Asia Minor
Trade and Cultural Exposure
Orientalizing Art
Amphora
The Beginnings of
Greek Sculpture
Near Eastern and Egyptian
influences
Kore, Kouros
Increasing Realism, Naturalism
Careful study of human anatomy
Representation of Life and vigor
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2.13 New York
Kouros, c. 600
bce. From Attic,
Greece. Naxian
marble, 6´41⁄2˝
(1.95 m) high
without plinth. The
Metropolitan
Museum of Art,
New York,
USA//Image
copyright © The
Metropolitan
Museum of Art/Art
Resource, NY
2.14 Kroisos, c.
530 bce. From
Anavysos,
Greece. Marble,
6´4˝ (1.93 m) high.
National
Archaeological
Museum, Athens,
Greece//©
Scala/Art
Resource, NY
Sculpture and Painting in the
Archaic Period
Solon’s Legal Reformations
Tyrants / Artistic Patronage
Artistic Developments
Freestanding Figures
High & Low Relief Carvings
The “Archaic Smile”
Vase Painting
Black- and Red-Figure Styles
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2.15 Calf-
Bearer, c. 550
bce. From the
Acropolis,
Athens. Marble,
5´5˝ (1.65 m) high. Acropolis
Museum,
Athens,
Greece//©
Nimatallah/Art
Resource, NY
2.16 Peplos
Kore, c. 530 bce.
From the
Acropolis,
Athens. Marble,
4´ (1.21 m) high. Acropolis
Museum, Athens,
Greece//©
Nimatallah/Art
Resource, NY
2.18 Kritios Boy,
c. 490 bce. From
the Acropolis,
Athens. Marble,
2´10˝ (86 cm)
high. Acropolis
Museum, Athens,
Greece//©
Nimatallah/Art
Resource, NY
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2.21 Euphronios (vase painter), Crater of Antaeus, Death of Sarpedon, c. 515-510 bce. From
Cerveteri, Italy. Red-fi gure calyx krater, terracotta, 1´7 ̋(44.8 cm) high, 1´91⁄2 ̋(55 cm) in
diameter. Louvre, Paris, France//© Erich Lessing/Art Resource, NY
Music and Dance
in Early Greece
Doctrine of Ethos (Musical Theory)
Dorian, Phrygian modes
Music=Primarily vocal
Paean, dithyramb
Instrumentation
Cithera, aulos
Significance of Narratives
Music and Dance
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Literature and Philosophy
Hesiod
Theogony
Lyric verse vs. Heroic verse
Sappho
Presocratics
Materialists, Pythagoreanism, Dualists,
Atomists
Herodotus (Father of History)
Hubris
Chapter Three:
Classical Greece and
the
Hellenistic Period
The Classical Ideal
Classical period (500-323 B.C.E.)
Contributions of “pioneers”
Search for order and control
Value of human potential,
capability
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Athens
Exemplar of human achievement
Defeat of Persians (479 B.C.E. )
Democratic Government
Ecclesia, boule, magistracies
Delian League
Peloponnesian War (431- 404 B.C.E.)
Pericles
Thucydides
3.1 Cresilas, Pericles, 2nd
century B.C.E.
Marble, 23” (58.5 cm) high. British Museum, London,
United Kingdom
Pericles and the
Athenian Acropolis
Pericles’ building program
Delian League funds
Parthenon
Proportion, balance
Ideal beauty in realistic terms
Erechtheum
Porch of the Maidens (caryatids)
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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.
3.8 The Erechtheum with the Temple of Caryatids
Acropolis, Athens, Greece, 430-406 B.C.E.
Classical Sculpture
and Vase Painting Naturalism, realism
Myron’s Discus Thrower
New standard of human beauty
Proportion, symmetry, balance
Riace Bronzes
Polykleitos of Argos, The Canon
Focus on individual
Emotional responses
Death and mourning
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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
with glass,
bone, silver,
and copper
inlay, 6´6˝ (2
m) high.
Museo
Archeologic
o Nazionale,
Reggio
Calabria,
Italy//©
Scala/Art
Resource,
NY
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.
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Philosophy
in the Late Classical Period
Protagoras
Sophists
Socrates
Fate of the individual
Questioning traditional values
The Socratic problem
Philosophy
in the Late Classical Period
Plato
Disciple of Socrates
Apology, Crito, Phaedo
The Academy
Political theory / ideal society
Theory of Forms
Inspired by chaos of 4th c. Greek
politics
Philosophy
in the Late Classical Period
Aristotle
Pupil of Plato
The Lyceum
Platonist vs. Aristotelian
Metaphysics, Nicomachean
Ethics, Rhetoric, Poetics
“Master of those who know.”
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Music
in the Classical Period
Popularity of instrumental
music
Doctrine of Ethos
Plato
Aristotle
Pythagorean principals
Octaves, fourths, tetrachords,
modes
Rhythmic instrumentation
Musical notation
Drama Festivals of
Dionysus
Theater = religious ritual
3 Tragedies + Satyr Play
Plots
Actors and props
Function of Chorus
Athenian Tragic Dramatists
Aeschylus
Sophocles
Euripides
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.
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Aeschylus (525-456 B.C.E.
)
Optimistic philosophy / themes
Orestia Trilogy (458 B.C.E. )
Agamemnon, The Libation Bearers,
The Eumenides
Growth of civilization through
reason and order
Sophocles (496-406
B.C.E. )
Friend of Pericles
Consequences of human error
Most traditionally religious in
theme
Antigone, Oedipus the King
Euripides (484-406 B.C.E. )
Realistic, rational
Social, political, religious
injustice
Concern for psychological truth
Suppliant Women, Helen,
Iphigenia in Taurus, Bacchae
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Aristophanes (450-385
B.C.E.)
Athenian comic poet
Political satire + fantasy
The Birds
Lysistrata
Late Classical
Sculpture
Realism and emotion
Fate of the individual (Plato)
Praxiteles
Female body = object of beauty
Lysippus
Portraiture, scale
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.
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3.22
Theodoro
s 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
Division of Macedonian Empire
Syria, Egypt, Pergamum, Macedonia
Spread of Greek influence
Artistic freedom vs. Classical
order
New patrons = new artistic
roles
Altar of Zeus at Pergamum
Laocoön
Return to Classic principles
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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 2: Discussion Questions
What significant differences exist between the
cultures of the iron age and those of the
bronze age? Explain.
Consider the role of religion in Early Greece.
What does Early Greek theology suggest
about the concerns of the society? Explain.
What were the causes for and the results of
Greek colonization? Cite specific examples.
Explain the new directions of art in the
Archaic Period. What do these changes
suggest about the culture that was producing
and patronizing this art?
Chapter 3: Discussion Questions
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.
What is the “Classical Ideal”? In what
works is this ideal best illustrated?
Explain.
Compare the Acropolis with the buildings
at Pergamum. How does each entity
symbolize the cultural attitudes of its time
and locale? Explain.
What role did drama and music play in the
lives of the Greeks? How were the two
forms interrelated?