Greek Sculpture
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Transcript of Greek Sculpture
Greek Sculpture
The Archaic Period-----------------------Eve
The Classical Period---------------Phoenix
The Hellenistic Period------------Katherine
The Archaic Period
Eve Chang
The Archaic Period(ca. 700-480 B.C.E)
Style: freestanding
Characteristic: 1.male nude (natural)2.ideal form3.frontal pose, rigid look & left foot extended forward…etc4.proportionally geometric entities:→influence by Egypt
Function: 1.decorations of
religious buildings 2.immortal reminders of
a deceased
Representative StatuesKouros (Early Archaic) :
1.male
2.rigid pose-vertical
3.arms closed to its body
4.wide shoulder
5.left foot stretched forward
Kouros (Late Archaic):
1.Kroisos (warrior)
2.anatomical attention (calf, knee, arm )
3.blissful smile
4.more like human
Kore:1.female
2.less important than kouros
3.smiling
4.ornamental & columnar
Calf-Bearer:
1.movement & plot
2.more realistic
3.abdominal muscles & bull calf
4.eyes:once inlaid with pearls
mother-of-pearlgray agates
lapis lazuli
at dig site on Acropolis in 1865
Greek Statue Egyptian Statue
1. technical, proportional and obvious formal similarities
2. Greek: unclothed Egyptian: wear a kilt
3. Greek: freestanding Egyptian: a support
lean against a back support
The Classical Period
Phoenix Zhang
The Classical Period (480-323 B.C.E.)
• Early Classical Period (480 B.C.E)• High Classical Period (480-400 B.C.E)• Late Classical Period (430-323 B.C.E)
• During the Classical period, Greek sculptors focused their energies on the human figure
Early Classical Period (480 B.C.E)
Marble figure known as the Kritios Boy • The concept of “ weight shift “ first applied to sculpture• Counterpose: the body turns slightly to one side and its weight rests mainly on one leg• Implied the concept of movement
Compare and contrast: Kroisos vs. Kritios Boy
Pose: Rigid→ relaxed but balanced Weight shift: both legs → on the left leg Facial expression: smiling → solemn,
contemplative
(P.112 Figure 5.8) (P.113 Figure 5.9)
Early Classical Period (480 B.C.E)
• Knows as “Severe Style”: the change in facial expression reflects the
reevaluation of human potential and self-knowledge
High Classical Period (480-400 B.C.E)
• The application of a Platonic canon of proportions to sculpture
• “Canon” of Proportions: an idealized mathematical system for depictions of the human body.
• Geometric & symmetrical concept evolved
High Classical Masterpiece
Doryphorus (Spear-Bearer)
Sculptor: Polycletius
Qualities of idea warrior-athlete: energy, confidence and grace
Idealism: presenting the idea conception of male figure (Broad shoulders, thickly muscled limbs and muscular.)
“Canon” of Proportions:
Harmonious balance
(P.108 Figure 5.1)
High Classical Period
Prominent feature: capture the “idea moment” before action
Depiction of more vigorous action
Dynamically posed of the figures
(P.113 Discus Thrower) (P.114 Zeus/ Poseidon)
Late Classical Period
Remains the concept of “Weight Shift”
“curve” in the body is more pronounced
Ex : Hermes and Dionysos
Late Classical Period
female figure was depicted completely naked
Ex: The Aphrodite of Knidos point:1. Smooth curve of the body2. Idea female form: Tall Small breasts Broad hips
Hellenistic Art
Katherine Liu
Hellenistic Era
Larger, monumental form
Utilitarian StructureE.g. Lighthouse
TheatreLibrary
Hellenic Lighthouse
Hellenic Theatre
Hellenic Library
Altar of Zeus
Place: PergamonErected time: 180 B.C.EPurpose: To celebrate victory
minor kingdom of Pergamon V.S.
Gauls
Pergamon
20-foot high platform
Ionic Colonnade
Athena Battling with Acyoneus•
Free-standing Hellenistic sculpture
Momentary Expression
Spear-Bearer V.S. High classical
• Apollo Belvedere• Animated, feminized,
self-conscious style
Spear-Bearer V.S. Apollo Belvedere
Carving Techniques
• Contrast of light and dark
• Semi-transparent robes
• Vigorous movement
• Deeply cut drapery
Nike of Samothrace
Laocoon and His son
‧http://www.greeklandscapes.com/greece/athens_museum_archaic.html
‧http://www.historylink101.com/lessons/art_history_lessons/greek_
sculpture.htm
‧http://academic.reed.edu/humanities/110Tech/kouroi.html
‧http://employees.oneonta.edu/farberas/arth/ARTH200/politics/images_
authority_2_greek.html
‧http://daphne.palomar.edu/mhudelson/WorksofArt/05Greek/4169.html
‧http://library.thinkquest.org/23492/
‧http://www.artchive.com/artchive/G/greek.html
‧http://encarta.msn.com/encyclopedia_761561691_4/Greek_Art_and_
Architecture.html
Work Cited