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Commentaar slides pwp Bouw-en beeldhouwkunst 1 2 3 4 5 6 7 8 / 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. 9 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 kapiteel. 20 / 21 Pantheon in Rome 22 Het Witte Huis in Washington 23 / 24 / 25- Parthenon 27 28 Triglief 29 Ontwikkeling van de Griekse tempel 30- Parthenon 34 35 Felle kleuren, metoop 36- / 37 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 original. 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." 39 40 Bas-reliëf 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 43 44 / 45- Cycladische stijl 50 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. 5255 56 Gelijkenissen Egyptische kunst 57 58 59 60 61 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) Amazone Aphrodite 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. Nikè 6263 64 65 66 67 Lacoöngroep (in Vaticaan) Stervende Galliër De bokser / Aphrodite en Pan 68 69 70 7175 Hercules Doornuittrekker Oude vrouw op de markt Schilderkunst