Download art 381 handout 5: high and late classical art and architecture

ART 381 HANDOUT 5: LATE CLASSICAL ART AND ARCHITECTURE
Late Classical: the period ca. 400-323 B.C. Politically this age saw the decline of the
individual poleis, and the rise of the northern kingdom of Macedon, which took over all
of Greece in 338 BC. Intellectually, saw the rise of developed systems of philosophy in
Athens, particularly those of Plato and Aristotle, but also the rise of Rhetoric, or
persuasive argumentation,. The last is particularly associated with the practical
philosopher Isokrates, but its greatest political practitioner was the Athenian politician
Demosthenes. The Rich Style continued until ca. 375 BC in art, but the period ca. 375323 was characterized in sculpture and painting by heavier drapery, a new interaction of
cloth and anatomy, new pose-types (especially leaning and more three-dimensional ones),
and by the development of new secular and purely artistic types of art. Emotion also reemerges. Religious architecture shows greater variation than previous temples
II. Historical figures.
Philip II: King of Macedon 358-336 B.C. Built up the Macedonian army, and conquered
all of Greece by 337. Was preparing to attack the Persian Empire when assassinated in
336.
Alexander the Great: suceeded his father Philip in 336. In 334 invaded the Persian
Empire, by his death in 323 had conquered the Near East as far as the borders of India.
His conquests began the Hellenistic Age, and his policy of employing court artists was
followed by the Hellenistic kings.
III. Painting.
South Italian vase painting: arose after 440, and lasted until ca. 300. Their are two
techniques, red-figure and overpainting (the colors are painted on top of the black slip or
gloss). The Apulian ornate style can be seen in the Iloupersis Painter’s Visitors at a Tomb
of 380-370. The vases, especially the later ones, tend to be even more florid, but preserve
hints of contemporary monumental painting and show us scenes of the contemporary
theatre (see the work of the Paestan painter Assteas, such a “Robbing the Miser”).
Nikias of Athens: active in the third quarter of the fourth century B.C. Painted some of
Praxiteles' statues, also known for his mythical paintings, several of which can be
identified in "copies." These show the figures in the foreground with a very limited
landscape background (Perseus and Andromeda).
Tomb of Persephone, Vergina: a chamber tomb of c. 340 with a scene of the Rape of
Persephone by Hades on its interior. This has dynamic and 3-D poses, strong emotion
(Persephone and her attendant), and shading. Since it is in a royal tomb, presumably the
work of a gifted artist, as it looks to be.
IV. Sculptors and Sculpture
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Attic Grave reliefs: the classical series of grave reliefs begins around 440 and continued
down to 317 or 310., when their production was outlawed. They are valuable because
they mirror contemporary developments in sculpture in the round (such as the Polykleitan
Chairedemos of ca. 420), and they show us something of funerary beliefs. Some of them
(Dexileos stele, 394, or the Ilissos stele, c. 330) are fine works of sculpture in their own
right. Other relief sculpture, such as record and votive reliefs, show the same stylistic
development.
Timotheos: apparently the leading sculptor of the Temple of Asklepios at Epidauros (ca.
380), he is also said to have worked on the Mausoleum in the 350s, which would give
him a long career. The sculpture from the pediments at Epidauros, and his best-known
work preserved in Roman copies (the kinky Leda and the Swan) show "Rich" style
drapery combined with a new emotionality.
Kephisodotos the Elder: Athenian sculptor who made a group of Eirene and the Infant
Ploutos (Mother Peace holding the infant Wealth) around 370 for the Athenian Agora. It
survives in Roman copies, and shows a new interest in the depiction of realistic drapery,
as well as a natural interaction between the woman and child. Generally considered to be
Praxiteles' father or uncle.
Praxiteles: Athenian sculptor of the second and thrid quarters of the fourth century,
known for his graceful leaning figures. Unfortunately, these are only preserved in Roman
copies (Apollo, Sauroktonos-the lizard Slayer, ca. 350, Hermes and the Infant Dionysos,
ca 340). His most famous statue was the nude Aphrodite of the Knidians (ca. 360). The
closest contemporary reflection of his style is the small bronze "Marathon Boy" of ca.
325; this likely was made by one of his students or circle. A base from his workshop (the
Mantineia Base, ca. 330) shows relief depictions of draped Muses on two faces; the third
shows the musical contest between Apollo and Marsyas. Praxiteles' work heavily
influenced Hellenistic sculpture of women, both nude and draped.
Skopas: sculptor from Paros, also the architect of the Temple of Athena at Alea of around
340. Active in the second and third quarters of the fourth century, Skopas' most famous
work was on the Mausoleum at Halikarnassos. He was known for the expressive emotion
of his work; the badly battered heads from the pediments at Tegea, which were done by
his workshop, and a few identifiable Roman copies (the Dresden Maenad, Pothos), show
deeply cut eyes which create anguished expressions.
Lysippus: sculptor from Sikyon who apparently worked only in bronze. His career may
last from the 360s into the last decade of the fourth century His work survives only in
Roman copies. He devised a slimmer proportional system for male statuary (see the
Apoxyomenos, or man scraping himself, orig ca. 330) to replace Polykleitos' proportions.
He was also known for his three-dimensional poses and momentary stances, and his
stautes of Herakles (Weary Herakles, Herakles Epitrapezios). Lysippus was the court
sculptor of Alexander the Great, and made his most famous image (the Alexander with
the Lance). Lysippus' students dominated Early Hellenistic sculpture to 250.
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Leochares: Athenian sculptor who worked on the Mausoleum at Halikarnassos in the
350s. He later was the architect of the round Phillipeion at Olympia (338-335), for which
he made three gold and ivory statues of Philip, Olympias (P's wife), and Alexander.
Leochares' last work (ca. 320) was (in conjunction with Lysippus) a group at Delphi in
which the general Craterus was shown saving Alexander from a lion. It is assumed that a
fine marble head of the young Alexander (ca. 335) found on the Athenian Acropolis is
Leochares' work. It is similar to the style of the Apollo of the Belvedere in the Vatican, a
Roman copy of a Greek original of ca. 330 that is presumed to be by Leochares. Also
similar is the Demeter of Knidos (ca. 340 B.C.), which may also be by Leochares.
V. Architects
Polykleitos the Younger: architect of the elaborate Tholos at Epidaurus (360-330). Also
said to be the architect of the Theatre at Epidaurus (second half of 4th B.C., or later).
Probably a relative of the sculptor (grandson??).
Pythius: architect of the Temple of Athena at Priene (340s-334), which preserves an ideal
proportional system for Ionic. Earlier he worked on the Mausoleum at Halikarnassos.
VI. Buildings
Temple of Apollo, Bassai: 6 X 15 Doric temple built in the western Peloponnessos
between 430 and 400. Its initial phase may be associated with Iktinos, but the final
product shows clear signs of plan changes. Its ground plan is archaic (6 X 15 column
peristyle, but the temple has a revolutionary cella design with engaged Ionic columns
running down the sides, and at least one free-standing Corinthian column forming the
return behind the cult statue. Above the columns ran a continuous sculpted frieze
depicting in the "Rich Style" the Battle of Greeks and Amazons and the Battle of Lapiths
and Centaurs. The working of this is unfortunate, but it, and the architectural decoration,
reveal clear signs of influence from the High Classical temples of Athens (notably the
Hephaisteion).
Nereid Monument, Xanthos: a ruler's tomb in Lycia in southern Asia Minor built between
390-380 B.C. Featured a small squarish Ionic temple on top of a tall podium. Decorated
by much sculpture in the round and in relief, done in the "Rich" Style by Greek artists,
including sea nymphas (Nereids) flitting between the columns of the temple.
The Mausoleum at Halikarnassos: the tomb of a Carian ruler named Mausolus built
between 358-350 at Halikarnassos on the southwestern coast of Asia Minor. Essentially a
larger and more elaborate version of the Nereid Monument, it became one of the Seven
Wonders of the Ancient World. This was mainly due to its sculptural decoration, which
was done by Skopas, Leochares, Bryaxis and Timotheos (or Praxiteles). Only a few
statues (notably "Mausolus and Artemesia") and a frieze of the Battle of Greeks and
Amazons survive in more than fragments, and it has not been possible to recover the
identities of the sculptors of the various surviving sculpture. It is good sculpture.
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Temple of Athena Alea, Tegea: built by Skopas ca. 350-335 B.C., this 6 X 14 Doric
temple in the Peloponnessos had an internal colonnade of engaged Corinthian columns.
These served no structural purpose (unlike in earlier temples), rather were merely
decorative. Its pedimental groups were by Skopas' workshop.
Tholos, Epidauros: a round building dedicated (perhaps) to Asklepios the Hero, it was
constructed by Polykleitos the Younger between 360 and 330. Known for its elaborate
carved floral decoration, the tholos had 26 Doric columns on its exterior, and 14
Corinthian columns inside.
Theater, Epidauros: possibly designed by Polykleitos the Younger in the second half of
the 4th century, it is the best preserved early Greek Theatre. Known for its superb
acoustics.
Temple of Athena, Priene: 6 X 12 Ionic temple in Asia Minor built by the architect
Pythius between 350-335 B.C. Notable for its strict proportional system of design,
basically 1:2.
Vergina: site of a Royal palace of the Macedonian family, built in the fourth and third
centuries. Essentially a huge Greek peristyle house (115 X 100 yards), with rooms
arranged around a central colonnaded courtyard . Nearby is the Great Tumulus with the
Tomb of Philip and other royal tombs.
VII. Gods and Mythical Figures
Asklepios: originally a mortal son of Apollo, he became a popular doctor-god beginning
in the fifth century B.C. His most important shrine was at Epidauros in the Argolid.
Marsyas: satyr who picked up the pipes (flute) invented by Athena and who later
challenged Apollo to a musical constest. For his presumption, Apollo had him flayed
alive (depicted on the Mantineia Base).
Andromeda: daughter of a King, she was rescued from a sea monster by Perseus, who
married her. The rescue was the subject of a painting by Nikias.
Telephos: illegitimate son of Herakles who moved from Arcadia to northern Asia Minor,
where he fought with and was wounded by Achilles at the start of the Trojan War. The
duel was shown on East Pediment of the Temple of Athena at Tegea. Telephos was later
adopted by the Kings of Pergamon as a local hero, and his story was depicted on the Altar
of Zeus at Pergamon (interior frieze).
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ART 381, GREEK ART: HANDOUT 6, HELLENISTIC ART AND
ARCHITECTURE
I. People and Places.
The Ptolemys: Egypt was claimed by Ptolemy I soon after Alexander the Great's death.
He became its king in 305 B.C., and his family ruled ther until 31 B.C. Their capital was
at Alexandria in the delta, the greatest city of the Hellenistic world and the site of a
famous library.
The Seleucid Kingdom: the largest of the Hellenistic kingdoms, it stretched at one time
from Asia Minor to India. Named after its first king (Seleucus), its major service was to
Hellenize Syria and the Levant.
Pergamon: kingdom ruled from its capital on the northwestern coast of Asia Minor after
270. In the later third and the second centuries B.C. it became wealthy and powerful, and
preserves notable architectural and sculptural embelishment. Was willed to Rome in the
130s by its last ruler.
II. Sculpture
The Tyche of Antioch: Notable for its three-dimensional, spiralling pose, several copies
of this bronze of the 290s made by Eutychides, a pupil of Lysippus. Shows the Fortune of
a city in Syria founded by Seleucus ca. 300 B.C.
The Alexander Sarcophagus: sculpted sarcophagus made for the last Phoenician king of
Sidon around 311 B.C. Shows on one main side a lion hunt, on the other a battle. Both
feature images of Alexander the Great.
The Dherveni Krater: enormous gilded bronze krater made in the second half of the
fourth century and buried in a tomb at Dherveni in Macedonia. Shows Dionysos, his wife
Ariadne and his followers whooping it up on the body in relief. On the shoulders are
statuettes in the round of sleeping and drunken figures. A good example of the elaborate
metal vases which were common in the later fourth century and the Hellenistic Age.
Demosthenes: a statue of the famous Attic orator was made in Athens by Polyeuktos in
280, 42 years after Demosthenes' death. It shows him lost in thought, looking nervous. A
notable imaginary Greek "psychological" portrait, designed to depict Demosthenes nature
rather than his real appearance.
The Alexander with a Lance: statue by Lysippus showing Alexander nude and
dynamicaly clutching a spear. Became a model for later ruler portraits such as the
powerfully muscled "Hellenistic Ruler" of the 2nd or the 1st century B.C.
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Epicurus: philosopher whose portrait from around 270 survives in copies. It is a good
example of the Greek interest in depicting the ethos or character of the depicted rather
than an exact record of his features.
The Dying Gaul: part of a series of overlifesize and heroically expiring Germans which
formed part of a victory monument erected in the 220s by a king of Pergamon. The
earliest datable examples of the Hellenistic "Baroque" style; they survive only in Roman
copies. The Dying Gaul, a collapsing trumpeteer, is the most famous of these figures.
Gaul and his Wife: part of the same monument, it seems, since this two figure group of a
Gaul killing himself after killing his wife is the same size as The Dying Gaul. Powerfully
muscled and dynamic.
Altar of Zeus, Pergamon: enormous Ionic altar built ca. 180-150. Features a frieze on its
exterior over 300 feet long showing in the dramatic Hellenistic "Baroque" style
overlifesize figures of Gods defeating Giants (Athena and Alcyoneos). All were carefully
labelled and the altar thus is a good example of Hellenistic scholasticism. On the interior
was a more pictorial frieze showing the story of Telephos, who the Pergamenes claimed
as mythological ancestor.
The Barberini Faun: a nude satyr "sleeping it off," made ca. 200. His "open" pose and
powerful musculature make it clear that he is a symbol of male eroticism. Style is
Hellenistic "Baroque."
The Nike of Samothrace: created by Rhodians around 200 to commeorate a naval victory,
she stood in a fountain dramatically posed on the prow of a ship. A fine example of the
Hellenistic "Baroque" style.
The Baker Dancer: exquisite little bronze showing a mantled dancer. A lovely example of
Hellenistic genre art and clearly designed to be art for its own sake. She also shows
transparent drapery.
Laokoon Group: dramatic mythological group showing a Trojan priest and his sons being
devoured by serpents. In the Hellenistic "Baroque" style, it was done by three Rhodian
sculptors in Rome in the first century BC or the early first century AD.
The Crouching Aphrodite: created probably in the second half of the third century B.C.,
she retains the complicated spiralling poses and pyramidal composition loved by the
followers of Lysippus, but also has aspects of the Hellenistic "Baroque" style in her
sharply turned head. Was intended to be seen as surprised while bathing, hence her nudity
is still motivated.
Capitoline Aphrodite: a typical Classicistic image of the goddess of love, made c. 250150. Based on the Knidian Aphrodite of Praxiteles, her nudity is no longer motivated. Her
goodies are also more voluptuous.
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Aphrodite of Melos: partially clad cult statue of the goddess made on Melos around 125.
Shows a typical twisting pose, also the small shoulders and large hips favored in this
period. Usually called by the French “Venus de Milo.”
The “Slipper Slapper:” erotic group that shows Aphrodite threatening to hit a diminutive
Pan with her slipper, since he is clearly propositioning her. Venus flies between them to
encourage the liaison. This group was made for a mens’ club on Delos.
Sleeping Eros: part of “Hellenistic Rococo,” perhaps made around 150, this bronze
original shows the God of Lust as an infant sleeping on a rock. Just too cute.
Cupid and Psyche: group created in the second century; shows two mythological lovers
kissing. They are, however, of junior high age. A typical Hellenistic "cute" work of
sculpture.
Sleeping Hermaphrodite: created in the second century, it shows an Hermaphrodite (part
man, part woman) nude and asleep. When one first saw it (from the rear), it seems to
represent a pretty girl. From the front, male genitalia are visible. Typical of the Hellenistic
love of surprise (theatricality) and the odd.
III. Painting
Apelles: Alexander's court painter, active in the second half of the fourth century B.C.;
famed for his three-dimensional poses and the "grace" of his figures. One of his paintings
showed Alexander holding Zeus' thunderbolt.
Pella Mosaics: Pella was the capital of the Kingdom of Macedonia, and its wealthy
houses preserve fine mosaics of the late 4th and early 3rd centuries. These are made with
pebbles, but approximate paintings. Particularly notable mosaics depict Dionysos riding a
Panther, and a stag hunt. The latter is signed by its artist, Gnosis.
Tomb at Leucadia, Macedonia: tomb of a noble of the late 4th century. Notable for its
painted facade (front), which shows a battle of Greeks and Amazons on an Ionic frieze
above a Battle of Lapiths and Centaurs in a Doric triglyph and metope frieze. Between the
columns, the dead man is led by Hermes to the Judges of the Dead (Aiakes and
Rhadamanthys). The style is quite free and impressionistic.
The Alexander Mosaic: laid in the House of the Faun at Pompeii in the late 2nd century
or early first century, copies an earlier Greek painting of the Battle of Issus (333 B.C.), in
which Alexander defeated the Persian King Darius. The action takes place in a space of
some depth, although no real landscape is provided. The artist concentrated on creating a
realistic sense of the turmoil of battle, and on depicting the psychology of the two heroic
protagonists (Alexander and Darius). The original painting probably was done in the late
4th B.C.
The Odyssey Frieze: painting cycle found in a house in Rome; dates to ca. 50 B.C. Seems
to present excerpts of a larger cycle of the wanderings of Odysseus. If the prototype is
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Hellenistic, as seems likely, the Odyssey frieze provides evidence for Hellenistic
landscape painting, since it depicts small figures in a deep landscape background.
IV. Architecture.
Temple of Apollo, Didyma: an enormous Ionic temple (168 X 359 feet on its stylobate,
with columns 60 feet tall!) near Miletus begun in the late 4th century and only completed
in the 1st century A.D. It was dipteral, 10 X 21 columns, and the bases of the forecourt
had sculpted decoration. The interior was open to the sky, with the cult statue contained
in a small temple. To reach the interior court, one passed through vaulted passageways.
Temple of Artemis, Magnesia on the Meander: designed by Hermogenes around 175, it
was Ionic, pseudo-dipteral and designed to a strict proportional system which
Hermogenes published in a book. This influenced the Roman architect Vitruvius.
Bouleuterion, Miletus: built ca. 170, it is the most elaborate Greek council house known.
The interior had seats for around 1200 arranged in a half-circle; the exterior had a
propylon and an open court.
Stoa of Attalos, Athens: built in the Agora between 159 and 138 as a gift of Pergamon, it
has been reconstructed and remains the best example of a two-story market building.
Pergamon’s Acropolis remains the best example of the dramatic presentation favored by
Hellenistic planning. Besides the Altar of Zeus, it had a very steep theatre on the slope of
the Acropolis, a temple of Athena (Polias), in the stanctuary of Athena, a famous Library.,
and a Royal palace.
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