Chapter 5: Ancient Greece Lesson 9: Late Classical & Hellenistic.

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Chapter 5: Ancient Greece Lesson 9: Late Classical & Hellenistic

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Chapter 5: Ancient GreeceLesson 9: Late Classical & HellenisticWarm-up 10-17-14 Ch.5 L10 GreeceRespond to the following:What is the narrative of this work?What are the stylistic characteristics? Why are they significant?

Obj: SWBAT describe the context and significance of the Battle of Issus

Announcements:1st quarter Grades Due Next Friday Oct 24th Late work due by Monday Oct 20th at 5pmMonday: Quiz on Greece & ALL cue cards due

Agenda:Warm-up Announcements and RemindersReview Acropolis structuresCrash course videoNotesThink-pair-shareOffice HoursTuesday 3:00-4:00Thursday 3:00-4:00Philoxenes of Eretria, Battle of IssusNarrative: Battle between Alexander the Great and Persian king Darius IIIAlexander impales an enemy but gazes at DariusAlexander battles without a helmetDarius flees in humiliating defeat, his charioteer whipping horses and speeding awayDarius reaches toward Alexander in a pathetic gesture

Philoxenes of Eretria, Battle of IssusSignificance: New notion of what painting should bebeginnings of the Renaissance stylePsychological intensity and drama of the moment capturedUse of light and shadow (shading) and clear presentation of figures against the background

Works you must research on your own

Details of the Panathenaic Festival procession frieze

Grave stele of Hegeso

NIOBID PAINTER, Artemis and Apollo slaying the children of NiobeKrater

3-Quarter ProfileLate Classical

10Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Hermes and the infant DionysosHow has Greek painting changed over the course of the archaic/classical eras? What are the reasons for these changes?(What are the stylistic differences and between these works? What cultural changes happened to cause these differences? )

Early vs. Late Greek paintingPhiloxenes of EretriaBattle of Issus (detail) ca. 310 BCEGeometric krater, from the Dipylon cemetery, ca. 740 BCEHellenistic Art

13Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

HellenisticEarly Classical

15Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Hellenistic Era ContextDeath of Alexander the Great in 323 BCEEra ends with death/suicide of Queen Cleopatra and her consort Mark Antony

3 Major Kingdoms emerge:Alexandria in EgyptAntioch in SyriaPergamon in Asia Minor

Hellenistic Kings are immensely richIndulging in libraries, art collections, scientific pursuits, being critics and connoisseurs

Hellenistic Era Context3 Major Kingdoms emerge:Alexandria in EgyptAntioch in SyriaPergamon in Asia Minor

Hellenistic Kings are immensely richIndulging in libraries, art collections, scientific pursuits, being critics and connoisseursArtistically:Art becomes dramaticRejection of Polyklietos concepts of statuesno longer ideally proportioned or self-contained

Altar of Zeus, Pergamon

Altar of Zeus, Pergamon, TurkeyContext: City of Pergamon is given to Rome, which is the greatest power in the worldThe Attalids -Kingdom of Attalos, after Alexanders empireFunction: Temple/worship

Altar of Zeus, Pergamon, TurkeyStylistic Characteristics: Elevated platform with sculpted frieze 400 ft longIonic ColonnadeNarrative/FiguresGigantomachy --Zeus and the gods battle the giantsEpic conflict for control of the worldSignificanceNarrative of the gigantomachy represents the Attalid victory over the Gauls of Asia Minor

Athena battling Alkyoneos, Altar of ZeusgigantomachyAthena battling Alkyoneos, Gigantomachy frieze, Altar of Zeus, Pergamon, TurkeyNarrative/FiguresAthena (similar to Parthenon pediment Athena), Gaia (Earth Goddess) remerges from the groundlooks on in horrorAthena grabs hair of the AlkyoneosNike flies over to crown AthenaStylistic CharacteristicsBattle is violent and emotionally intense with sweeping draperieDeep carving = dark shadows more dramaticDescribed as Baroque from 17th century European sculptureWork is ahead of its time

Nike alighting on a warship (Nike of Samothrace)Location: Sanctuary of Great Gods on island of Samothrace, atop a fountainNarrative/FiguresWinged goddess of VictoryWould raise her missing arm to crown a naval (on a ship at sea) victor

Nike alighting on a warship (Nike of Samothrace)Stylistic CharacteristicsThe wind appears sweeps the draperyDress has thick folds and bunches, is pulled tight across the abdomenPlacement on fountain adds to theatrical quality of rushing wavesReflection in water, sound of splashing waterStatue interacts with its environment Statue is like a living, breathing, emotive humanSignificance:Rejection of Polyklietos concepts of statuesno longer ideally proportioned or self-contained

Seated boxer

Exit SlipWhat cultural beliefs do these pieces represent about the classical Greek era? Use 3 examples of VISUAL evidence from these works to justify your answers.The Parthenon/Doryphorous was constructed with.. The function of the Parthenon/Doryphorous was..

Visual EvidenceCultural meaning1.

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3.Exit SlipNo Notes AllowedList the 3 unusual characteristics about the Temple of Hera I Paestum, Italy