Hellenism 2 Figure 5-74 PAIONIOS OF EPHESOS and DAPHNIS OF MILETOS, Temple of Apollo, Didyma, Turkey, begun 313 BCE. Restored view of facade (right) and plan (left). Hypaethrall: open to the sky. Long dark hallways through side doorsthen you emerge into sunlight! This temple breaks the canon to create a dramatic experience for the viewer 3 Figure 5-75 Model of the city of Priene, Turkey, fourth century BCE and later. Staatliche Museen, Berlin. 4 Figure 5-76 Plan of House XXXII, Priene, Turkey, fourth century BCE. 5 Figure 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE (Acropolis in the background). 6 Figure 5-78 Reconstructed west front of the Altar of Zeus, from Pergamon, Turkey, ca. 175 BCE. Staatliche Museen, Berlin. Pergamon: a breakaway state in Asia Minor that became A center for the arts. Here: the gigantomachy is again a metaphor for triumph over the Barbaric Gauls. A new canon: deep undercut relief/theatrical/complex/breaking out of restrained Space/the content is emotional and the viewer is asked to empathize Hellenism takes opposing forces and balances them in extreme compositions 7 Figure 5-79 Athena battling Alkyoneos, detail of the gigantomachy frieze, from the Altar of Zeus, Pergamon, Turkey. Marble, approx. 7 6 high. Staatliche Museen, Berlin. 8 Figure 5-86 Seated boxer, from Rome, Italy, ca. 10050 BCE. Bronze, approx. 4 2 1/2 high. Museo Nazionale Romano, Rome. Pathos to illicit Empathy gives Way to catharsis 9 Figure 5-86 Detail Detail of head from front 2005 Saskia Cultural Documentation, Ltd. 10 Figure 5-80 EPIGONOS(?), Gallic chieftain killing himself and his wife. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230220 BCE, approx. 6 11 high. Museo Nazionale Romano-Palazzo Altemps, Rome. Part of a monument commemorating Defeat of the Gauls The dignity and heroism of the enemy Shows the power and virtue of the Pergamenes They are designed in every way to Illicit an emotional response and Establish an emotional connection To the viewer 11 Figure 5-80 Detail Upper two thirds of the Gaul and his dead wife from front right 2005 Saskia Cultural Documentation, Ltd. 12 Figure 5-81 EPIGONOS(?), Dying Gaul. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230220 BCE, approx. 3 1/2 high. Museo Capitolino, Rome. Originally all part of an intertwined freestanding monument viewed from all sides We believe the artist was familiar with the dying Gauls from the Aphaia pediment 13 Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure approx. 8 1 high. Louvre, Paris. Originally placed on a hillside niche above The sanctuary of the Greek gods at Samothrace-this piece was drenched with Spray from a fountain that simulated the Crashing sea Nike here represents victory and connected To the moment in Greek plays where the god Descends from the heavens to determine The outcome of the drama 14 Figure 5-82 Alternate View Total from left front 2005 Saskia Cultural Documentation, Ltd. Contrasting textures! Opposing forces of balance! Interactive in space! Frozen in a moment-the form Captures the intangible- Becoming descriptive of the Wind itself. 15 Figure 5-87 Old market woman, ca. 150100 BCE. Marble, approx. 4 1/2 high. Metropolitan Museum of Art, New York. In multicultural Hellenistic Greece, Reality became more interesting Than the quest for perfection Patrons commissioned interesting Unusual individuals as subject Matter How is this sculpture SIMILAR in Form to the Athena Nike 16 Figure 5-88 POLYEUKTOS, Demosthenes. Roman marble copy after a bronze original of ca. 280 BCE. 6 7 1/2 high. Ny Carlsberg Glyptotek, Copenhagen. 17 Figure 5-83 ALEXANDROS OF ANTIOCH- ON-THE-MEANDER, Aphrodite (Venus de Milo), from Melos, Greece, ca. 150125 BCE. Marble, approx. 6 7 high. Louvre, Paris. Looks back to Praxiteles and Lysippos Heavier proportions look Classical but the Twist to the body is Hellenistic Erotic tension! 18 Figure 5-84 Aphrodite, Eros, and Pan, from Delos, Greece, ca. 100 BCE. Marble, 4 4 high. National Archaeological Museum, Athens. 19 Figure 5-84 Alternate View Total from front left 2005 Saskia Cultural Documentation, Ltd. 20 Figure 5-85 Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230200 BCE. Marble, approx. 7 1 high. Glyptothek, Munich. 21 Figure 5-85 Alternate View Full length front center 2005 Saskia Cultural Documentation, Ltd. 22 Figure 5-85 Detail bust detail from front center 2005 Saskia Cultural Documentation, Ltd. 23 Figure 5-89 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocon and his sons, from Rome, Italy, early first century CE Marble, approx. 7 10 1/2 high. Vatican Museums, Rome. An episode from the Trojan wars Lacoon was a priest cursed by the gods of the Greeks-serpents Are killing him and his sons Designed to be seen from the front Similar in form and content to the Pergamene stylediagonals are Key here. 24 Figure 5-90 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Odysseus, from Sperlonga, Italy, early first century CE. Marble, approx. 2 1 high. Museo Archeologico, Sperlonga.