Download Commentaar slides pwp Bouw

yes no Was this document useful for you?
   Thank you for your participation!

* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project

Document related concepts

Athens wikipedia , lookup

Delphi wikipedia , lookup

Epikleros wikipedia , lookup

Athenian democracy wikipedia , lookup

Plutarch wikipedia , lookup

First Persian invasion of Greece wikipedia , lookup

Ancient Greek architecture wikipedia , lookup

List of oracular statements from Delphi wikipedia , lookup

Theogony wikipedia , lookup

Theorica wikipedia , lookup

Peloponnesian War wikipedia , lookup

Pericles wikipedia , lookup

Parthenon wikipedia , lookup

Acropolis of Athens wikipedia , lookup

Commentaar slides pwp Bouw-en beeldhouwkunst
Beursgebouw Brussel
Deksteen, tamboer, schacht, kapiteel
Opbouw zuil
Gat om ijzeren staaf doorheen te steken
Kenmerken: oudste, robuust(mannelijk), geen voetstuk, eenvoudig
vierkant kapiteel en ondiepe schaduwgroeven.
Zeustempel (Paestum?)
10 Delphi
11 /
12 /
13 Kapiteel Zeustempel Olympia
14 Smallere en diepere schaduwgroeven en spiraalvormig kapiteel
15 /
16 Nikètempeltje
17 Wel een voetstuk
18 /
19 Ontstaan tijdens hellenisme, vooral door Romeinen gebruikt. Ook
smalle zuil maar korf van acanthusbladeren(bereklauw) vormt
20 /
21 Pantheon in Rome
22 Het Witte Huis in Washington
23 /
24 /
25- Parthenon
28 Triglief
29 Ontwikkeling van de Griekse tempel
30- Parthenon
35 Felle kleuren, metoop
36- /
38 Phidias + uitsteeksels
Phidias, (circa 490 BC - circa 430 BC) was an ancient Greek sculptor,
universally regarded as the greatest of Greek sculptors.
Phidias designed the towering statues of the goddess Athena in the Parthenon in
Athens and the colossal seated Statue of Zeus at Olympia in the 5th century BC.
These works were apparently commissioned by Pericles in 447 BC.
Of his life we know little apart from his works. According to Plutarch he was
made an object of attack by the political enemies of Pericles, and died in prison at
Athens. Plutarch gives in his life of Pericles a charming account of the vast
artistic activity which went on at Athens while that statesman was in power. He
used for the decoration of his own city the money furnished by the Athenian
allies for defence against Persia: it is very fortunate that after the time of Xerxes
Persia made no deliberate attempt against Greece. "In all these works," says
Plutarch, "Pheidias was the adviser and overseer of Pericles." Pheidias introduced
his own portrait and that of Pericles on the shield of his Parthenos statue. And it
was through Pheidias that the political enemies of Pericles struck at him. It thus
abundantly appears that Pheidias was closely connected with Pericles, and a
ruling spirit in the Athenian art of the period. But it is not easy to go beyond this
general assertion into details.
It is important to observe that in resting the fame of Pheidias upon the sculptures
of the Parthenon we proceed with little evidence. No ancient writer ascribes them
to him, and he seldom, if ever, executed works in marble. What he was celebrated
for in antiquity was his statues in bronze or gold and ivory. If Plutarch tells us
that he superintended the great works of Pericles on the Acropolis, this phrase is
very vague. On the other hand, inscriptions prove that the marble blocks intended
for the pedimental statues of the Parthenon were not brought to Athens until 434
BC, which was probably after the death of Pheidias. And there is a marked
contrast in style between these statues and the certain works of Pheidias. It is
therefore probable that most if not all of the sculptural decoration of the
Parthenon was the work of pupils of Pheidias, such as Alcamenes and
Agoracritus, rather than his own.
The earliest of the great works of Pheidias were dedications in memory of
Marathon, from the spoils of the victory. At Delphi he erected a great group in
bronze including the figures of Apollo and Athena, several Attic heroes, and
Miltiades the general. On the Acropolis of Athens he set up a colossal bronze
image of Athena, which was visible far out at sea. At Pellene in Achaea, and at
Plataea he made two other statues of Athena, also a statue of Aphrodite in ivory
and gold for the people of Elis.
But among the Greeks themselves the two works of Pheidias which far outshone
all others, and were the basis of his fame, were the colossal figures in gold and
ivory of Zeus at Olympia and of Athena Parthenos at Athens, both of which
belong to about the middle of the 5th century. Of the Zeus we have unfortunately
lost all trace save small copies on coins of Elis, which give us but a general
notion of the pose, and the character of the head. The god was seated on a throne,
every part of which was used as a ground for sculptural decoration. His body was
of ivory, his robe of gold. His head was of somewhat archaic type: the Otricoli
mask which used to be regarded as a copy of the head of the Olympian statue is
certainly more than a century later in style. Of the Athena Parthenos two small
copies in marble have been found at Athens which have no excellence of
workmanship, but have a certain evidential value as to the treatment of their
In 1958 archaeologists found the workshop at Olympia where Phidias assembled
the gold-and-ivory Zeus. There were still some shards of ivory at the site, and the
base of a bronze drinking cup engraved "I belong to Phidias."
De Elgin Marbles. Lord Elgin ontvreemdde de beelden uit het door de
Turken bezette Athene in 1807. Nu te bewonderen in British
museum(eigendom van de Britse staat), Grieken willen beelden terug.
41- Gulden snede + wiskundige bouwwijze
44 /
45- Cycladische stijl
50 De lierspeler
Archaïsche periode (7e - 6e eeuw v.C.): in deze periode maakte men vooral koeros- en korèbeelden. Deze
51 De
beelden waren stijve en gespannen beelden. Het geheel maakte een statische indruk. In tegenstelling tot de
Egyptische beelden waren bij de Griekse de spieren veel natuurlijker weergegeven.
Gelijkenissen Egyptische kunst
De lansdrager
De Klassieke periode (5e - 4e eeuw v.C.) : De beelden kregen nu een veel natuurlijkere weergave. In tegenstelling tot
de archaïsche periode stond de atleet (man) centraal, was er veel meer evenwicht en harmonie in de beelden was er
rust en beweging in één momentopname en besteedden de Griekse kunstenaars veel meer aandacht aan de
anatomie van de mens. Een belangrijke beeldhouwer uit die tijd was Phidias (vb. Parthenonfries, wagenmenner van
Delphi en de discuswerper van Myron)
De paardenmenner (museum van Olympia)
De Hellenistische periode (338 v.C. tot 30 v.C.): De beelden bewogen als het ware en waren rusteloos. De kenmerken
van deze periode waren: PATOS (= heftige gevoelens) en realisme nam toe. Ook werd er, in tegenstelling tot de
Klassieke periode, ook veel vrouwelijk naakt afgebeeld.
Lacoöngroep (in Vaticaan)
Stervende Galliër
De bokser
Aphrodite en Pan
Oude vrouw op de markt