Periods in Greek Sculpture  Archaic  Classical  Hellenistic

Evolution of Greek Sculpture  The building of Acropolis were constructed during was is called the Classical period.  Like architecture. Greek sculpture also reached its peak during this period.  To understand and appreciate Greek accomplishments in sculpture, it is necessary to look back to an even earlier time known as the Archaic period.

Archaic Period  600 – 480 B.C.  Greek sculptors concentrated on carving large, freestanding figures known as Kouri and Korai.  Kouroi is the plural form of Kouros meaning “youth”  Korai is the plural of Kore, or “maiden”

Kouros Unknown Marble c.530B.C  The kouros was a male youth who may have been a god or athlete.  From the Archaic Period  Made of marble and stands 6 ft. 7 in.  Except for left foot, it is symmetrically balanced just as they are in Egyptian sculpture  Unlike Egyptian sculpture the arms are separated slightly from the body and there is an open spaced between the legs.

The only suggestion of movement is the left foot. Both of his feet are flat on the ground which would be impossible unless the left is longer than the right. Eventually Greek sculptors learned to bend and twist their figures to make them appear more natural.

The Hera of Samos Unknown Marble c B.C. Korai = were clothed women, often goddesses Carved during the Archaic period Stands more than 6 feet tall Which element of art seems most important in this artwork? Straight vertical lines suggest garments and adds textual interest to the simple form Same stiff pose as the Kouros

Classical Period  Greek artists became more bold and skillful  They abandoned straight stiff poses and made their figures appear to move in space.

Discuss Thrower Myron Roman Copy of Bronze Original c.450 B.C. Life-size Myron skillfully captured a athlete in motion Details reveal that Myron had a great understanding of human anatomy. The athlete is about to put all of his strength into a might throw, yet his face is calm and relaxed. In this aspect the figure is more idealistic than real.

Athena Parthenos Phidias/Alan LeQuire Copy of Bronze Original c.1993  Stood in the Parthenon  Towering 42 feet!!  Her skin would have been made of ivory, gold was used for the armor and clothes and precious gems were used for her eyes and decoration on her helmet.  This is a photo of the full scale recreation that stands in the Nashville Parthenon.  It is through roman copies and ancient writers descriptions that we know the works of Phidas.

Procession of Horsemen Phidias Marble c.440B.C. Large relief sculpture that was once located on the outside of the Parthenon. Depicts a religious parade that was held every four years in the city of Athens to celebrate the god Athena. Shows 350 people and 125 horses taking part in the parade. Celebration would include a procession of people carrying offerings to the statue inside the Parthenon. Over 3 feet high, it ran along the top of the Parthenon walls like a giant storyboard.

Nike Fastening Her Sandal Unknown Marble c.410 B.C. Shows the goddess of victory frozen in action fastening her sandal. A graceful movement is suggested by the thin drapery that clings to and defines her body. The series of oval lines created by the drapery unifies the work. Compare the handling of drapery here with that of the Hera of Samos. What strides did Greek sculptors make over 150 years?

Dorphoros (Spear Bearer) Polyclitus Roman Copy of Greek Original c.450 B.C. Polyclitus = Famous classical Greek sculptor whose specialty was creating statues of youth athletes Often used the contrapposto technique Contrapposto – a pose in which the weight of the body is balanced on one leg while the other is free and relaxed Action is kept to a minimum Feeling of athletic strength and power Looks relaxed, confident, and idealistic.

Hellenistic Period  War left the Greek city-states weakened by conflict.  To the North Macedonia was ruled by the military genius Philip II.  Having unified his own country Philip turned his attention to the Greek-city states.  In 338 B.C Philip defeated them and gained control of the Greek world.

Spread of Greek Culture  Before Philip could extend his empire further, he was assassinated while attending his daughters wedding.  His successor was his 20-year-old son, Alexander the Great  Alexander, whose teacher had been the famous Greek philosopher Aristotle, inherited his father’s love for Greek culture.  Alexander was determined to spread this culture throughout the world.  As he marched his armies through other countries, the Greek culture he brought with him blended with other non- Greek cultures  This is known as the Hellenistic age.

Expression in Hellenistic Sculpture  Sculptors in he Hellenistic period were extremely skillful and confident in their work.  They created dramatic often violent images in bronze and marble.  Interested in faces, which were considered a mirror of inner emotions.  Beauty was less important than inner emotions.  Because of this they lack precise balance and harmony of Classical sculptures.

The Dying Gaul Roman Copy of Bronze Original c. 240 B.C. Life-size Once part of a larger monument that celebrated the victory over the Gauls, fierce warriors from the north. You witness the final moments of a Gual who is fatally wounded in battle. Blood flows freely from the wound in his side Using what little strength he has left he supports himself with his right arm. He has difficulty holding the weight of his head and it tits downward. Pain and knowledge that he is dying distort the features of his face. Intended to stir the emotion of the viewer and become involved in the drama of the scene.

Nike of Samothrace Unknown Marble c.190 B.C. Depicts the winged goddess Nike, the goddess of victory Was made to celebrate a naval victory Standing on a pedestal to resemble the prow of a warship She may have held a trumpet with her right hand and waving a banner with her left. What helps to suggest movement in this artwork? The original location is unknown and was found in 118 pieces Commonly called the Winged Victory

Seated Boxer Unknown Bronze/Roman Copy c.50 B.C. Artist depicts not a victorious young athlete, but a mature, professional boxer, resting after a brutal match Swollen ears, scratches, and perspiration are signs of his occupation. As he turns his head to take off his gloves you see his broken nose and battered cheeks. His joyless expression suggests he may have lost the match. What emotions do you think the artist is trying to communicate to the viewer?

Quiz Review  Archadic  Kouros  Solid and Stiff Figures  Classical  Trying to achieve perfection in balance, proportion, and sense of movement  Hellenistic  Interest in more dramatic and emotional subject matter

Vocabulary & Quiz Review