Ancient Greece: Archaic Period
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Ancient Greece: Archaic Period Archaic (meaning “old”) period When: 640-490 BCE or put another way 7th-6th centuries BCE Archaic sculpture Introduction Sculpture of life-sized human figures began in Greece during what is called the Archaic period from 640-490 BCE It is not known why Greeks began making such works when they did The early Archaic artists were influenced by Egyptian techniques and conventions such as working from 4 views on a block Kouros or Kouroi (plural) Youthful male figures that are depicted in the nude They had funerary purposes usually marking the grave of a young Greek They replaced the Geometric style vases Could also be used as votive offerings to the gods Kore or Korai (plural) Female figures depicted with clothes Examples: New York Kouros (because the statue is in the MET), Slides 3 - 5 Compare it to the statue of Menkaure and Khamerernebty, Slide 6 Similarities: It is depicted in a rigid upright posture Left leg is striding forward and hands are clenched Differences – But there are TWO crucial differences The Greek kouros is NUDE The kouros is totally in the round, notice the spaces between the limbs Style: Notice the head of the New York Kouros is slightly too large for the body (6.6 head lengths tall vs. 7.5 for realism) It is very angular (hard edges). Flat face and geometric pattern of ribs and hips - like Lady of Auxerre Moschophoros (Calf Bearer), Slides 7 -8 Found on the Acropolis in Athens Dedicated by Rhonbos Holding a calf to sacrifice to Athena, patron goddess of Athens (votive purpose) He is bearded (so not as youthful as the New York Kouros and is partially nude. The sculptor depicted him partially covered by a cloak. In this way, the sculptor maintains the convention of nudity found in kouroi statues but wears clothing, which is appropriate for someone bringing a statue to a goddess. Notice the X-composition of the calf’s legs and his arms – What does that do visually for the statue? Unites the bodies of the calf and man physically and formally. Why is he smiling? From this point on, most Archaic statues will have a smile. Sometimes, Archaic statues are shown smiling even while they are dying! Slides 9 - 10 Maybe the smile was a way to show life and vitality in the statue. Kroisos Slides 11 &12 A kouros with traces of paint on it Greek stone statues were colored using ENCAUSTIC paint – when an artist mixes pigment with hot wax and paints with it Found by his grave Inscription at the base of the statue describe how he was a warrior who died in battle What elements classify it as a kouros? How does it differ from the New York Kouros? Slides 13 & 14 Less schematic/geometric Head correct proportion Softer definition of forms (not as hard edged). Waist less slim Shoulders broader: 3.5 shoulder widths high vs. 3.75 shoulder widths high Why are Greek male statues shown in the nude? Anthropomorphic gods Greek gods took human form Therefore, humans have god-like qualities Attitude toward the human body Something of which to be proud Should be kept in good shape Greek males and, in some locations females, worked out gymnos or in the nude Belief in ideal forms based on Plato’s philosophy Everything including the human body has an ideal form The Greeks believed in ideal beauty The relationship between the human form and mathematics Greeks believed that ideal beauty could be expressed in measurable proportions Greek statues and temples are based upon a belief that harmonious proportions could be found and given artistic form Pattern of Perfection As you will see, the Greeks furnished Western Civilization with a pattern of perfection from the Renaissance to the present century Striving for Excellence “The Greek statue is nude. From the 8th century BCE onward, the Greeks represented male figures in the nude. No other contemporary culture had this custom. Greek youths trained and competed in athletic contests in the nude. But nudity also had a connotation of heroic excellence. The beauty of the perfectly proportioned, well-trained body was considered an outward manifestation of the striving for excellence that marked a hero.” MET audio guide Archaic women – Kore or “maiden” Slides 15 - 16 Peplos Kore Slide 17 - 22 She wears a peplos, a simple woolen, belted garment Columnar Traces of paint What attributes does she have that make her a kore? Or is she Athena herself? She was discovered at the Acropolis of Athens, fragmented and buried along with statues like the Calf Bearer When the Persians sacked Athens, they knocked over the kouroi and kourai on the Acropolis, which were votive figures to Athena’s Parthenon (no wonder they eventually lost to the Greeks!) Kore, from the Acropolis, Slide 23 Later kore wore linen chiton and heavier himation (mantle). Gave sculptors more folds and textures to work with. Less stiff and frontal, viewer’s eye travels along diagonal folds and around to sides. More life-like with hands holding cloth Still same basic pose. Archaic Architecture Change from Daedalic style (Geometric) of Temple A at Prinias. Temple A was still modeled on Mycenaean megaron Slide 25 After exposure to Egyptian temple architecture (e.g. Temple of Amen-Re at Karnak) Greeks started to build columnar stone temples with gabled roofs. Most influential design in western architecture in history. Why did the Greeks add gabled roofs? What is different about climate of Egypt and Greece? Functionality of Greek Temple Temples were not places of congregation. Temple was home of god. Religious ceremonies were held in the open air in front of the temples. Temples usually faced east so the god/statue could see the rising sun. Temple Vocabulary: Naos (cella) Pronaos, Stylobate, Antae (extended walls), Opsithodomos. Peristyle, Periptal, Dipteral, Slide 26 Slide 27: Compare Doric and Ionic orders. Early Greek temples were made of wood. Did not survive to present day. As wood decayed members were swapped out with stone (marble) replacements. As stone became building material of choice the wood designs were translated to stone: e.g. metope and triglyph in Doric design. Marble was plentiful for most Greek territories. Had already started using stone in Geometric period (Prinias) Structure of Temples Repetition of basic elements based on simple proportions Symmetric, compact, orderly Regular numerical relationships Proportions changed over time from about 1:3 to about 1:2 Search for the perfect form. Greek temple still had elements of megaron: Idea of the cult statue in a throne room entered through a vestibule with a columnar façade. Greeks were keen on symmetry. Thus the opisthodomos, really just there to balance the pronaos. Steps all around stylobate: can enter temple from any side. Placed on elevated site to be seen and inspire (like ANE/Ziggurats). Lines and elements needed to be kept clean. Did not use surfaces for cluttered ornamentation or inscriptions. Color was used on temple sculptures. But clarity and balance were main concerns. Ornamentation Figurative sculpture was always an important element on temples To tell story As votive offering Building itself was seen as an abstract sculpture that should evoke human response. Steps all around stylobate: can enter temple from any side. Placed on elevated site to be seen and inspire (like ANE/Ziggurats). Sometimes columns were replaced by female figures (CARYATIDS) (male figures = atlantids – but not in Greek art) Lines and elements needed to be kept clean. Did not use surfaces for cluttered ornamentation or inscriptions. Role of Sculpture in Greek Temples: Cult Statue Narrative related on friezes and pediments Votive offerings (kouroi). Temple of Hera I (Bascilica), Paestum, Italy, ca. 550 BCE Slides 28 & 29 1:2 ratio, 9 columns x 18 columns Central row of columns in naos (thus mistaken for Roman basilica plan). Central row of columns under ridgepole divides cella into two sides: Only in Archaic temples Disadvantage: split cella into 2, no place for cult statue Couldn’t see cult statue from outside: blocked by odd-number of columns in front of pronaos (prostyle). Unsure if it would work Very fat, closely spaced columns Entasis is overdone Capitals looked squished under weight. Thick, cigar shaped columns Seems heavy with elements in entablature and capitals compressed. Because they were unsure what could be supported with columns? Later designs had thinner columns more widely spaced. West Pediment, Temple of Artemis, Corfu, ca. 600 – 580 BCE. Slide 30 East and West pediments identical Working on compositional solutions to fill a triangular space. How do you deal with the small ends? Change scale? Hierarchy of scale Figures get smaller as they get closer to the corners. Another solution is to mix standing and reclining figures. Central figure is the Gorgon Medusa (hideous with snake hair: anyone who looked at her turned to stone). Pinwheel posture: implies running or flying Left and right of her are guardian lions (panthers in Prinias, Geometric period). Basically a heraldic composition, orientalized from Mesopotamian human/animal heraldic compositions. Identification of subjects was more important than narrative. Narrative confused: Shows Medusa’s children (small figures next to her) who were born when she was beheaded as alive when she was alive In one corner is the narrative of the GIGANTOMACY (battle between the gods and the giants), which is a metaphor for the triumph of reason and order over chaos. In other corner shows events of Trojan war. Not a very coherent overall narrative composition. Seems like people are trying to figure out how to use the space. Questions Why Medusa in pediment? – not part of Artemis story Hideous monster to protect temple like lamassu? Orientalizing influence? Why couldn’t Artemis protect her own temple? Temples vs. Treasuries Treasuries were where votive figures were kept. Why do you think the Greeks would create a separate building for the votive figures (e.g. kouroi)? Temples were nonperipteral. Siphnian Treasury, Delphi, ca. 530 BCE, Slides 31 & 32 Treasury: Small, nonperipteral containing votive offerings. Ionic order with caryatids (rare) Gigantomacy on northern frieze: continuous on all four sides. Painted labels and metal weapons. Coherent story with more detail – overlapping figures. All people are same scale – gods bigger. Caryatids not Ionic columns (not done with Doric order – too severe) Temple of Aphaia at Aegina (ca. 500 – 490 BCE) and the TRANSITION TO THE CLASSICAL PERIOD Slides 34 - 40 Compare and contrast the design of the Temple of Aphaia at Aegina (500 – 490 BCE) to the Temple of Hera I at Paestum. Notice the refinement of form of the Temple of Aphaia. Compare and contrast the pediment sculpture of the Temple of Aphaia to the Temple of Artemis of Corfu. Notice that the pediment of Temple of Aphaia utilized sculpture in the round, similarly sized figures throughout, and a unified narrative. Technical issues overcome Thinner Doric columns More widely spaced Entasis is more subtle Echinuses of capitals not squished Central line of columns replaced with double colonnade of 2 stories. Can see cult statue from outside between the even number of columns in front. Artistic issues overcome All figures in pediment same scale (except for central Athena in center). Subject was war with Trojans – all people are same scale. Solve triangle problem by different positions. East and west pediment the same. East ped. Sculptures were damaged and needed to be replaced. Compare and contrast the dying warrior from west pediment (older, 500 – 490 BCE) with east pediment replacement (490 – 480 BCE). Beginning of Classical period. More natural position of body Trying to resist death, continue fighting. No archaic smile Torso twisted, not frontal Not looking out. Looking inward in pain, aware of his imminent death. Doesn’t have pose, patterns, and smile imposed from outside. Sculpture appears to be self-aware, conscious. Archaic painting --- Pottery Athenians frowned on pretentious displays of wealth. People were expected to adorn their city-state, not themselves. Yet, every society has its objects of beauty and value. Beginning around 600 BCE, the Greeks prized above all else the pottery created in the shops of Athens. Made out of common clay, they were relatively cheap. Two major types of vases that we will study: Black-figure – Came first, the figures have black bodies with details such as muscle, hair, clothing, and weapons incised by a STYLUS (sharp pointed tool) in the pottery revealing lighter colors Red-figure – Came later, the figures have red bodies, the details are the darker parts, details added with a paint brush How to remember which came first? B for Black comes before R for Red in the alphabet. And there you go. The themes of most vases relate to mythology, heroic deeds, and athletics (although there are exceptions) Chigi Vase, ca. 640 BCE: Transitional vase between Geometric period and Archaic. Slides 44 - 50 Had registers to convey a specific story Polychrome Shows hoplite military formation, valuable info. Black Figure Vases Francois Vase, ca. 570 BCE. Slides 52 - 53 Mostly narrative, only one band given to sphinx and animal motifs. Over 200 characters with many stories of Greek myths including centauromachy (centaur war) Centaurs now man on top, horse on bottom Characters and objects named Spaces between characters are not filled with geometric design. Achilles and Ajax playing a dice game. Slides 54 & 55 What type of vase would this be? Painted by Exekias –The most famous painter in this style Achilles was a character from the Iliad (Homer’s epic poem about the Trojan War), almost immortal except for his ________________. Ajax – Achilles’ main Achaen (Greek) rival, wanted more glory than Achilles (As a true sport, Ajax carries Achilles dead body off the field of battle, and then commits suicide. They are playing a dice game. Guess who roles the higher number. The results are written on the vase as the two heroes shout out their numbers. Who looks like he is taller, and more commanding? Notice they still hold their spears and shields are upright and ready. This is like the calm before the storm. Also, notice the beautiful patterns incised by Exekias. Compositionally the spears bring the viewer’s eyes into the game; their shoulders mirror the shape of the amphora; the negative space between Achilles and Ajax echoes the shape of the amphora. Exekias signed this work as both the potter and the painter (they were actually separate jobs). Panathenaic Vases: Slides 59 - 61 Panathenaic festival was celebrated in Athens to glorify Athena Games accompanied the festivities As a prize, winning competitors were given an amphora (taller vase with two handles) filled with olive oil from the grove sacred to Athena According to the tradition, Athena always appeared on one side of the vase On the other side, the painter depicted the event for which the prize was one. In this case, it was a footrace. BILINGUAL AMPHORA: Achilles and Ajax playing the dice game, ca. 525 – 520 BCE. Slides 64 & 65 Bilingual vase – Transitional phase. Has black figure on one side, red figure on the other. This style of doing both did not last long, but here is the emergence of the new red figure style. Painted by someone called the Andokides painter (Andokides signed as the potter. Maybe, he was the painter, too.) It’s the same subject as Exekias’ vase. Whose do you like better? Why? What is the artistic potential for the new red-figure style? Greeks were Caucasian Could show shades of brown to model forms. More ability to create painterly images. Red Figure Vases Time – 530-480 BCE Design Figures have red colored bodies silhouetted against black backgrounds Use of a brush enabled artists to paint figures with greater naturalism Examples of red-figure vase: Euphronios, Herakles wrestling Antaios, ca. 510 BCE. Slide 69 Antaios was son of Earth. Herakles needed to lift him off the ground to strangle him. Antaios shows pain. Figures represented in space. No longer have the composite pose. Euphronios, Death of Sarpedon. Slide 70 - 72 Sarpedon was one of the sons of Zeus and Europa (Minos was his brother) Sarpedon was killed at Troy by Patroklos, a friend of Achilles Zeus was stricken by grief. To assure a decent burial, Zeus ordered Sleep and Death, the winged sons of Night, to carry him to his homeland for a hero’s funeral We see Sarpedon being gently lifted off the ground as Hermes supervises the proceedings The figure conveys a physical and emotional presence. For example, somber facial expressions betray tragic loss. And we can sense the physical strain required to lift the body. Euthymides, Three revelers, ca 510 BCE. Slide 73 Twisting pose Foreshortening with ¾ pose Onesimos, Girl going to wash, ca 490 BCE. Slide 74 Intimate scene, for private viewing due to female nudity and genre subject. Another example of a red-figure vase: A Lyre player feels the music. Slide 76 Directory: cms -> lib -> NJ01000817 -> Centricity -> Domain -> 441 lib -> American Studies Pacing Calendar 2014-2015 lib -> The ap history Timeline 8000bce-the Present lib -> Absolutism in Europe 441 -> Early italian renaissance and perspective introduction Domain -> Psi physics Kinematics Multiple Choice Questions Domain -> The Apprentice 441 -> Gothic art introduction Domain -> On the sidewalk bleeding by Evan Hunter Download 50.52 Kb. Share with your friends:
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