Download Iktinos and Kallikrates Parthenon, Temple of Athena

Theme: Man is the Measure of All Things
We will reference the Ancient Greek civilization throughout our course often, and the fundamental ideals
of Western civilization are built upon the foundation set by the Greeks. Our theme references Greek
social structure and thought.
First, our theme reminds us that Ancient Greek society was male-centered and strictly paternal. You will
read about the role of women in Ancient Greece in the Met thematic essay. Women were not citizens and
had few rights within government or society.
The Greeks created the democracy (rule by the people), and all free males of adult age were expected to
take part in the democratic government.
Secondly, the theme reminds us that the Greeks were humanistic. They believed that the individual was a
reasoning, creative force that has the potential to greatness and a commitment to moral and civic duty.
The gods and goddesses of the Greek world were human like, in that they were fallible and acted on
human desires (such as greed, lust, and envy). This is starkly different from the Egyptian or Ancient Near
Eastern religions.
The people we call the Greeks called themselves Hellenes. They were not organized into one nation, but
created separate city states (poleis). These city states were linked by a common language, and not much
else. They did band together to fight invaders, but they often waged war with each other as well. Anyone
outside of the Greek speaking world was considered to be a Barbarian and uncivilized.
Most of the Greek art we will look at is focused on the portrayal of the beautiful and perfect human form.
Early Classical Art
Contrapposto – the natural stance in
which the weight is shifted to one side,
causing a counter-positioning of the of
the body long the central axis (i.e. the
way we normally stand)
The Kritios Boy is a kourous statue, and
the earliest example of contrapposto in
sculpture. Compare/contrast him to
earlier kourous figures.
Notice how his head is slightly turned to
the right, and his body is much fleshier
and natural than earlier works.
Kritios Boy
from the Acropolis, Athens, Greece
ca. 480 B.C.E.
marble
34 in. high
Check out how gorgeous his knees are.
They are infinitely more natural than the
bony knees of the Kroisos.
The age of the figure is indicated
through the presence of a full beard,
long hair, and pubic hair. Compare to the
much younger Kritios Boy.
Contrapposto is much more pronounced
in this sculpture. His gaze is more
dramatically directed to the right, and
the sway of the hips is more
pronounced.
Many original Greek statues were cast in
bronze, and later lost when they were
melted down for ammunition. These
were preserved because they were lost
in a shipwreck.
Warrior
from the sea off Riace, Italy
ca. 460-450 B.C.E.
bronze
78 in. high
Zeus (or Poseidon?)
from the sea off Cape
Artemision, Greece
ca. 460-450 B.C.E.
bronze
82 in. high
Myron
Diskobolus (Discus Thrower)
ca. 450 B.C.E.
Roman marble copy after a bronze original
61 in. high
The athletic, contorted body is typical of
many Classical Greek statues. The
Greeks valued the vigorous, heroic body
in addition to the perfect, composed
face.
Notice the way the body creates two
diagonal, intersecting arcs. The discus
thrower’s gaze is not directed at the
audience, indicating full attention on his
task.
Roman marble copies of bronze originals
are easy to spot because of the addition
of support structures, usually taking the
form of tree stumps. These are
necessary to support the weight of the
marble, and would not have been
present in the bronze originals.
Myron
Diskobolus (Discus Thrower)
ca. 450 B.C.E.
Roman marble copy after a bronze original
61 in. high
Polykleitos
Doryphoros (Spear Bearer)
ca. 450-440 B.C.E.
Roman marble copy after a bronze original
83 in. high
Polykleitos
Doryphoros (Spear Bearer)
ca. 450-440 B.C.E.
83 in. high
This is probably the most
important sculpture in the
history of Greek art, and the
form will be copied time and
again. You should know
everything about this figure.
Polykleitos’ Canon is one of the
most important primary
documents related to Classical
Greek art. Read about it in your
textbook.
Polykleitos
Doryphoros (Spear Bearer)
ca. 450-440 B.C.E.
Roman marble copy after a bronze original
83 in. high
High Classical Art
Acropolis
Athens, Greece
Iktinos and Kallikrates
Parthenon, Temple of
Athena Parthenos
Acropolis, Athens, Greece
447-438 B.C.E.
The Parthenon takes its name from the
Athena Parthenos cult statue enclosed in
its cella.
Although Iktinos and Kallikrates are the
architects of this building, the most
important man behind the Parthenon is
Pericles. He used funds from the Delian
League treasury to rebuild the Acropolis,
and the whole of Athens, as a grand
tribute to Athenian dominance over
both the Persians and the other Greek
city-states.
Iktinos and Kallikrates
Parthenon, Temple of
Athena Parthenos
Acropolis, Athens, Greece
447-438 B.C.E.
Iktinos and Kallikrates
Parthenon, Temple of
Athena Parthenos
Acropolis, Athens, Greece
447-438 B.C.E.
Notice the column types used on the exterior
of the Parthenon
Iktinos and Kallikrates
Parthenon, Temple of
Athena Parthenos
Reconstruction Drawing
Athena took various titles depending on her role.
Athena Parthenos is the Virginal Athena.
Athena Nike is the Athena of Victory.
Phidas
Athena Parthenos (model)
Acropolis, Athens, Greece
ca. 438 B.C.E.
38 ft. tall
Thomas Jefferson was an
ambassador to France before
becoming President of the United
States. He saw Greek and Roman
buildings first-hand, and brought
back a love of Classical architecture
to the USA. The democratic ideals
of the Greeks appealed to him, and
he wanted to base the new
democratic nation on the Greek
prototype. Buildings like this, in the
Neo-Classical style, became
popular in the USA.
Have you seen any buildings in your
community or city that echo Greek
architecture?
William Strickland
The Second Bank of the United States
Philadelphia
1818-24
Mythological subjects like this one were
often used metaphorically. The metope
sculptures could be a symbol of the
Greek’s battle against the Persians.
Lapith versus Centaur
Parthenon, Acropolis, Athens
ca. 447-438
marble
4 ft. 8 in. high
East Pediment Statues (Three
Goddesses?)
Parthenon, Acropolis, Athens
ca. 447-438
marble
4 ft. 8 in. high
A British man by the name of Thomas Bruce, Earl of Elgin removed much of the
sculptural work on the Parthenon between 1801-1812. He was serving as the
British ambassador to the Ottoman Empire during this time. His methods were
crude, and he often allowed his workers to dynamite parts of the building to get
choice pieces (resulting in the destruction of many others).
He claimed he was saving the sculpture from neglect and poor management.
Other believe he was little more than a state-sanctioned thief. These pieces still
reside in the British Museum. The Greek government has asked for them to be
returned, and even built a museum to house them. The British are not keen on
losing one of their most valuable possessions, and as of today have refused to
send them home.
If you are interested in international politics and art restitutions, there is a
wonderful book called Loot that details these issues from both sides.
East Pediment Statues (Apollo)
Parthenon, Acropolis, Athens
ca. 447-438
marble
4 ft. 8 in. high
East Pediment Statues (Apollo)
Reconstruction
Parthenon, Acropolis, Athens
Erechtheion
Acropolis, Athens, Greece
ca. 421-405 B.C.E.
Notice the column types used on the exterior
of the Erechtheion re different from those
used on the Parthenon.
Caryatids from the South Porch of the Erechtheion
Acropolis, Athens, Greece
ca. 421-405 B.C.E.
marble
figures approximately 91 in. high
Columns shaped like humans are caled caryatids.
Hegesos is examining a piece of jewelry
brought to her by a servant in her home.
This is vastly different from the types of
scenes depicted on funeral markers for males,
which would usually show the figure in battle
or engaged in a civic duty.
Grave Stele of Hegesos
Acropolis, Athens, Greece
ca. 400 B.C.E.
marble
figures approximately 5 ft 2 in. high