KRITIOS BOY
480 BCE
Early Classical Period
Acropolis, Athens; 480 BCE; Marble; Carved by Kritos?; how a human really stands; tilted head; severe style- showing emotion, contrapposto
WARRIOR
450 BCE
Early Classical Period
Greek
-illustrates the developing skill of ancient Greek sculptors
in depicting the male nude figure
-It's got an X pattern (well balanced), more relaxed.
-The man held a shield (parts are still visible) on his left arm and
PARTHENON
432 BCE
High Classical Period
A huge temple constructed in Athens to worship the goddess Athena.
-The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasi
PHOTOGRAPHIC MOCK-UP OF THE EAST PEDIMENT OF THE PARTHENON
432 BCE
High Classical Period
The statues of the east pediment above the entrance to the cella are the best preserved of the two groups (FIG. 5-27). Originally over 90 feet long, the pediment lacks its central part, amounting to about 40 feet, probably de
LAPITH FIGHTING A CENTAUR
432 BCE
High Classical Period
Originally, the Parthenon's white marble columns and inner walls supported bands of brightly painted low-relief sculpture. The exterior Doric frieze included 92 carved metopes with scenes of victory. On the south side, they d
MARSHALS AND YOUNG WOMEN
432 BCE
High Classical Period
- detail of the precession, from the lonic frieze on the east side of the parthenon.
-The maidens in this detail, who walk with such grace and dignity, represent the Greek ideal of young womanhood, just as the muscular but po
Polykleitos SPEAR BEARER (DORYPHOROS)
440 BCE
High Classical Period
In most cases they stood in a solid stance with their weight bearing down on both feet rather than the Spear-Bearer's one. As for their arms, they normally stood at their sides or crossed over their chest, but the Spear-Beare
ERECHTHEION
406 BCE
High Classical Period
-On one side of the parthenon. Its more elegant, oldest building.
-second important temple erected on the Acropolis
under Perikles' building program
-The Erechtheion stands on the site of the mythical contest between the sea
HERMES AND THE INFANT DIONYSOS
4th-century BCE original
Late Classical
Praxiteles or his followers
-Indeed, there is a hint of human narrative:
Hermes teases the infant god of wine with a bunch of grapes. But the soft modulations in the musculature, the deep folds in the draperies, and
Praxiteles APHRODITE OF KNIDOS
350 BCE
Late Classical
-Around 350 bce, Praxiteles created a daring statue of Aphrodite, the goddess of love, for the city of Knidos in Asia Minor (FIG. 5-34).
-For the first time, a well-known Greek sculptor depicted a goddess as a completely nude woman.
Lysippos MAN SCRAPING HIMSELF (APOXYOMENOS)
325 BCE
Late Classical
-The other major sculptor of the fourth century bce whose name and fame come down to us is Lysippos. We know Alexander the Great commissioned an official portrait from Lysippos, who portrayed the ruler with head slightly turned and
ALEXANDER THE GREAT CONFRONTS DARIUS III AT THE BATTLE OF ISSOS
310 BCE
Hellenistic
After establishing an empire that stretched from Greece south to Egypt, and as far east as India, Alexander died of a fever in Babylon at age 33 in 323 bce. His untimely end left his vast empire with no administrative structure and no
THEATER OF EPIDAUROS
4th century BCE
Late Classical/Hellenistic
-In ancient Greece, the theater offered more than entertainment; it was a vehicle for the communal expression of religious beliefs through music, poetry, and dance. During the fifth century BCE, the plays were pr
APHRODITE OF MELOS
110 BCE
Hellenistic
This nostalgic interest in Late Classical style is exemplified by the APHRODITE OF MELOS (FIG. 5-39), found on the Aegean island of Melos by French excavators in the early nineteenth century. This sculpture was intended by its maker to
MARKET WOMEN
1st century
Hellenistic
-The Late Classical normative beauty of the Aphrodite of Meloscontrasts sharply with the seemingly unvarnished portrayal of an elderly woman carrying a basket of vegetables and a chicken, also carved in the second century bce (FIG.
Epigonos (?) DYING GALLIC TRUMPETER
220 BCE
Hellenistic
The sculpture is known today only from Roman marble copies. One figure, with the name Epigonos inscribed on its base, shows the agonizing death of a wounded Celtic soldier-trumpeter (FIG. 5-43). His wiry, lime-spiked hair, mustache, an
ATHENA ATTACKING THE GIANTS
150 BCE
Hellenistic Greek he Greek gods fight here not only with giants, but also with grotesque hybrids emerging from the bowels of the earth. In one section, the goddess Athena has forced a winged monster to his knees (FIG. 5-45). Inscriptions along the
Master Sculptor Vulca (?) APOLLO
500 BCE
Etruscan
Etruscan artists excelled at making monumental sculpture not out of stone, but with terracotta. It required great technical and physical skill to prevent these works from collapsing under their own weight while the raw clay was still heav
AULUS METELLUS
80 BCE
Roman Republic
The convention of emphasizing the effects of aging in portraits that appear to be accurate and faithful descriptions of actual individuals may have derived from the practice of making and displaying death masks of deceased relatives
TEMPLE OF PORTUNUS
2nd Century BCE
Roman Republic
Architecture during the Republic reflected both Etruscan and Greek traditions. In religious architecture, the Romans favored urban temples set, in the Etruscan manner, in the midst of congested commercial centers, rather tha
PONT DU GARD
Late First Century BCE
Roman Imperial
-The three arcades of the aqueduct rise 160 feet (49 m) above the river. They exemplify the simplest use of the arch as a structural element. The thick base arcade supports a roadbed approximately 20 feet wide. The ar
AUGUSTUS OF PRIMAPORTA
20 BCE
Roman Imperial
After Julius Caesar's death in 44 bce and a period of renewed fighting, his 19-year-old great-nephew and adopted son, Octavian, assumed power. Although Octavian kept the forms of Republican government, he concentrated real authority
Gemma Augustea
Early 1st century CE
Roman Imperial
The Gemma Augustea is divided into two registers that are crammed with figures and iconography. The upper register contains three historical figures and a host of deities and personifications. Our eyes immediately gravi
House of the Silver Wedding in Pompeii
1st Century CE
Roman Imperial
Luxurious Pompeian townhouses usually consisted of small
rooms laid out around one or two open courts, the atrium and the peristyle (FIG. 6-15). People entered the house through a vestibule and stepped into the atrium, a larg
PERISTYLE GARDEN
62 CE
Roman Imperial
Luxurious Pompeian townhouses usually consisted of small
rooms laid out around one or two open courts, the atrium and the peristyle (FIG. 6-15). People entered the house through a vestibule and stepped into the atrium, a large space w
Heraklitos THE UNSWEPT FLOOR
2nd Century CE
Roman Imperial
Mosaics, already used widely in Hellenistic times, were popular in wealthy Romans' homes. Mosaic designs were created with pebbles or small cubes of colored stone or glass called tesserae, which were pressed into a soft cemen
WALL PAINTING IN THE "IXION ROOM
62 CE
Roman Imperial
A complex combination of painted fantasies fills the walls of a reception room off the peristyle garden (FIG. 6-18). At the base of the walls is a lavish simulated frieze of colored-marble revetment, imitating the actual stone veneers
COLOSSEUM
72 CE
Roman Imperial Architecture
Romans were huge fans of sports events, and the Flavian emperors catered to their taste by building splendid facilities, notably the Flavian Amphitheater (FIG. 6-20), Rome's greatest arena, begun in 72 ceduring the reign
BASILICA ULPIA
113 CE
Roman Imperial
-A large rectangular building. Often with a clerestory, side aisles seperated from the center of the nave by colonades, and an apse at one or both ends. Roman centers for admin, later adapted to Christ and Church use.
-The BASILICA U
COLUMN OF TRAJAN
113 CE
Roman Imperial
Behind the Basilica Ulpia stood twin libraries built to house
the emperor's collection of Latin and Greek texts. These buildings flanked an open court, the location of a grand column that became Trajan's tomb (FIG. 6-26). The COLUMN
DOME OF THE PANTHEON
118 CE
Roman Imperial
Trajan's well-educated and widely traveled successor, Hadrian, was responsible for the most remarkable ancient building surviving in Rome, one of the marvels of world architecture in any age. This temple to the Olympian gods, known a
EXTERIOR VIEW AND PLAN OF THE PANTHEON
118 CE
Roman Imperial
Trajan's well-educated and widely traveled successor, Hadrian, was responsible for the most remarkable ancient building surviving in Rome, one of the marvels of world architecture in any age. This temple to the Olympian gods, known a
YOUNG FLAVIAN WOMAN
Roman Imperial
90 CE
The development of art in Rome depended on private as well as public patronage, and private Roman patrons continued to expect recognizable likenesses in their portraits. This did not preclude idealization. The portrait of an unidentif
PORTRAIT OF A MARRIED COUPLE
Mid-First Century CE
Roman Imperial
Portraits were also popular in wall painting. In
this arresting double portrait of a young husband
and wife from Pompeii (FIG. 6-31), the couple looks
out from their simulated spatial world through the
wall and into the
COMMODUS AS HERCULES
191 CE
Roman Imperial
Marcus Aurelius was succeeded by his son Commodus, a man without political skill, administrative competence, or intellectual distinction. During his unfortunate reign (180-192 ce), Com-modus devoted himself to luxury and frivolous pu
MARCUS AURELIUS
176 CE
Roman Imperial
Hadrian's successor, MARCUS AURELIUS, was renowned
both for his intellectual and his military achievements. In a gilded bronze equestrian statue, the commanding emperor wears a tunic and short, heavy cloak (FIG. 6-32). The raised for
TETRARCH
Early 4th Century CE
Late Empire
Hellenistic
-Artists of the Hellenistic period developed visions discernibly distinct from those of their Classical Greek predecessors. Where earlier artists sought to codify a generalized artistic ideal, Hellenistic artists shifted focus to the individual and the sp