Characteristics of Geometric Art(4)
primarily ceramic pots used as grave markers stylized
forms, typically made of geometric shapes use of geometric
patterns as decoration subject: themes related to
death
Name
Date
Period
Location
Medium
Geometric Krater
740 BCE
Geometric Greek
Athens, Greek
ceramic
Demonstrative
Geometric Stylized Ceramic pots
Death
Continuity
(2)
stylized figures--simplifying body into triangle forms, similar
to Cycladic figure registers-- similar to Standard of
Ur
Characteristics of Orientalizing Art
(3)
stylized features elements referencing the styles of
Egypt and Mesopotamia Interest in underlying anatomy of the
figure
Name
Date
Period
Location
Medium
Mantiklos Apollo
700-680 BCE
Orientalizing Greek
Thebes, Greece
bronze
Demonstrative
(2)
stylized interest in anatomy
Innovative
(1)
bronze--additive sculpture
Continuity
(2)
votive offering-- similar to Statuettes of Two Worshipers,
inscriptions on both stylized figures-- similar to
cycladic
Characteristics of Archaic Sculpture
(3)
figural compositions visibly imitate Egyptian forms
Displays increased interest and understanding of human
anatomy archaic smile
Characteristics of Archaic Pottery
(3)
one main scene on each side of pot stylization
present, but figures move away from conceptual representation
highly detailed
Name
Date
Period
Location
Medium
Kroisos
530 BCE
Archaic Greek
Anavysos, Greece
marble
Demonstrative
(3)
archaic smile human anatomy imitate
Egyptian
Innovative
(4)
naturalization of muscles underneath the body more
natural hair entirely freestanding
Continuity
(1)
pose and stiffness-- 1 foot forward
Name
Date
Period
Location
Medium
Peplos Kore
530 BCE
Archaic Greek
Athens, Greece
marble
Demonstrative
archaic smile increase in anatomy interest
Continuity
(2)
counterpart to Kouros votive offering-- similar to
Statuettes and Mankilos
Name
Date
Period
Location
Medium
Achilles and Ajax Playing a Dice Game
540-530 BCE
Archaic Greek
Vulci, Italy
Athenian black-figure amphora
Demonstrative
detailed one panel stylized
Innovative
single panel figures fully in profile-- except
eyes
Continuity
stylized physical features-- similar to Narmer, swirls for
muscles
High Classical Art Characteristics of Sculpture
(3)
abandonment of Egyptian pose for depiction of natural body
movement extreme naturalism combined with idealization
interest in theories of perfect proportion
High Classical Art Characteristics of Architecture
(3)
interest in harmony and proportion post and lintel
construction decorated with fantastic sculptural
programs
Name
Artist
Date
Period
Location
Medium
Doryphoros (Spear Bearer)
Polykleitos
450-440 BCE
High Classical Greek
Pompeii, Italy
Roman marble copy after bronze original
Demonstrative
naturalized ideal not egyptian pose
proportions
Innovative
canon of proportion--rules of perfect proportion, not a
portrait but a physical embodiment of perfection
Contrapposto--counter weight/ weight shift
Continuity
heroic male nude
Name
Artist
Date
Period
Location
Medium
Parthenon
Iktinos and Kallikrates
447-438 BCE
High Classical Greek
Athens, Greek
marble
Parts of the column
(top to bottom)
capital shaft base
Kind of column (order)
Doric
Kind of column (order)
Ionic
Type of column (order)
Corinthian
Doric Elements of Parthenon
doric columns metopes and trigylphs
Ionic Elements of the Parthenon
four ionic columns ionic frieze
Demonstrative
harmonious proportion controlled by an equation
Innovative
adjustments to counter optical illusions curved ground
line which means eye correct to see a straight line arent
spaced evenly, columns lean in, eyes correct
Continuity
post and lintel
Name
Artist
Date
Period
Location
Medium
Panathenaic Procession Frieze, Parthenon
Phidias
447-438 BCE
High Classical Greek
Athens, Greece
marble
Demonstrative
idealization/naturalism move away from Egyptian
proportions
Innovative
upper portion higher relief than the lower portion--
adjustments to make viewing from below easier
Continuity
processions-- similar to Persian and Medes
Late Classical Art Sculpture Characteristics
continued superhuman beauty worldly sensuousness, more
human than god/goddess
Late Classical Art Architecture Characeristics
employed natural landscape in construction new forms
and functions maintained interest in harmony of
features
Name
Artist
Date
Period
Location
Medium
Aphrodite of Knidos
Praxiteles
350-340 BCE
Late Classical Greek
Knidos, Greece
Roman copy of a marble original
Demonstrative
human figure, beauty, and sensuous
Innovative
naturalistic nude female venus pudica pose--covering
genitalia , recognizing you're there
Continuity
contrapposto
Name
Artist
Date
Period
Location
Medium
Theater at Epidauros
Polykeitos the Younger
350 BCE
Late Classical Greek
Epidauros, Greece
stone
Parts of theatre from left to right
orchestra skene auditorium
Demonstrative
harmonious
Innovative
use of natural landscape
Hellenistic Characteristics of Art
interest in sensuality, emotion, and human psychology
continued interest in the human form, but it's not limited to
the beautiful theatricality and dynamism
Name
Artist
Date
Period
Location
Medium
Aphrodite from Melos (Venus de Milo)
Alexandros of Antioch-on-the-Meander
150-125 BCE
Hellenistic Greek
Melos, Greece
Marble
Demonstrative
sensual human form
Innovative
erotic sensuality-- indifferent to her nudity, no purpose,
steadily looking at the viewer
Continuity
always nude goddess// a nude female form
Name
Artist
Date
Period
Location
Medium
Laocoon and His Sons
Athanadoros, Hagesandros, and Polydoros of Rhodes
early 1st century CE
Hellenistic Greek
Rome, Italy
marble
Demonstrative
theatrical body movement
Innovative
inner psychology expressed in the face and body
Continuity
heroic male nude